The much-anticipated fifth installation of Davido’s musical repertoire is here. The event, hype, and promotion have led to this defining moment of musical artistry and cultural upheaval—the wait was worthwhile. 5ive represents Davido’s impressive longevity and the sustainability of his musical stardom. It is a testimony of his presence and impact, and more importantly, his manifesto for afrobeats as a global, distinctive sound. Since its release, the reactions have been more than positive, steadily gaining traction, and evidently on its way to local and global critical acclaim.

The 17-track masterpiece is a veritable grandeur of artistic proportions and a musical tour de force. The album is not a dramatic shift from its predecessors. He maintains his distinctive sound and musical flow; however, the differential points exist in what it celebrates, the harmonised features and the multicultural influences. The album is head-bopping, and it completely consumes you, entangling you in its artistic wake. It is an escape, providing relief and eargasmic sensations.

The album starts with “Five by Alhanislam”, which is a proclamation of what the album is about and what it represents. It creates a sense of intrigue and anticipation, piquing your curiosity for more. It is followed by “Anything”, which is an inspirational piece. It maintains a soothing, mid-tempo and melodious flow. “Be There Still”, “CFMF”, and “10 Kilo” are more upbeat, more indicative of Davido’s signature sound. They make you get up and dance—proper gbedu music. “Offa Me” features the incredible Victoria Monet and it is the first international collaboration following the serial sequence. It is a melodious synergy of R&B and Afrobeats, creating enthralling soundscapes.

In “Holy Water”, collaborates with Victony and Musa Keys. Musa Keys’s Amapiano, vocal chops and atmospheric sounds marry really well with Victony’s Afro-fusion, expressive vocals and trap-inspired hooks. In “Titanium”, Davido shows his vocal chemistry with Chris Brown and further showcases their beautiful relationship as friends and business partners. As with his previous collaborations, Chris Brown brings that R&B factor that serves as a soothing variance. That shift when his voice interjects, that sharp striking difference in vocals while still meaning to the same beat, gives the song depth and fresh layers. “Tek” features the sassy Becky G. It starts with edgy saxophone instrumentals, which are added intermittently through the song. It is energetic and rhythmic, with traces of urban Latin pop and reggaeton tradition. “With You” features the sensational Omah Lay, and he brings those somewhat melancholic, low-tempo sounds with a minimalist tone.

The features in this album are a massive talking point, especially the international collaborations. This year’s features are different. They are carefully curated to radiate and complement each other. There’s a fluidity that seems symbiotic; every feature feels like a duet, a much more organic collaboration. It is a cultural melting pot, showcasing that distinctive genres can blend well together to create something truly incredible. So, you will find Amapiano sounds, Caribbean sounds, Latin sounds and R&B sounds—truly blending our worlds.

Davido really doesn’t try to be different with this album. It maintains Davido’s vibrant beats, passionate hooks, and his blend of Afrobeats. We’re not confining his music to a bubble, but we stress that the album doesn’t take away his distinctive sound. The album has Davido written over it; powerful beats, high tempos, party vibes, gbedu music. Essentially, he capitalises on his unique sound because it is what he does and he does it well.

5ive is a great album. It is a vibrant and culturally robust piece of art that shows Davido’s dedication and consistency. It maintains Davido-centric musical terrains while still permeating through multicultural soundscapes. It is the album to listen to before you go out to give a speech, it is something to listen to while you’re engaging in your favourite physical activity, it is something to pocket moments and experiences.

5ive is a five out of five.    

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The journey to Coco Jones' debut album, Why Not More? is one that has been years in the making. The anticipation has been at an all-time high for the R&B singer, who has been entertaining audiences for the better part of a decade.  After the release of her 2022 GRAMMY nominated EP What I Didn't Tell You, which introduced us to a grown-up Coco who delivered across the 11-track project of solid quality R&B and cemented her as another one of the new school of R&B artists delivering top-tier music that is no doubt bringing a fresh wave of talent, vocals, lyrics and music for a new generation of R&B talent across the board. 

The album's announcement, alongside the release of the Britney Spears sample lead single "Taste," brought excitement and intrigue to her long-awaited debut album. The use of the Britney Spears sample was a bold and experimental move, adding a unique twist to the track. This unexpected element led to mixed reviews from fans. Some didn't understand the use of the sample, while others praised the song's vibe, which was more experimental and sensual. Despite the reactions, the song undoubtedly showed that Coco is once again pushing herself and doing something different than what might be expected, keeping everyone on their toes about what to expect from her music.   

As you press play on the 14-track album, this is further displayed, showing a range of what Coco can bring to the party and what she has crafted for her debut album. The album displays Coco in all that she has to offer through the various melodies, musical styles and lyrical moments on the album. With R&B at its core, the album incorporates various musical elements that showcase the diverse influences shaping Coco's music. 'Taste' brings the Britney Spears pop-infused influence, whereas 'Hit You Where It Hurts' has a more gentle acoustic vibe. The title track, "Why Not More?" is a reggae-influenced song featuring YG Marley. "Most Beautiful Design" brings a trap edge to the album, with London On The Track and Future joining her.  “You”, a slower-tempo love song, is a perfect showcase of Coco's ability to convey deep emotions through her music.

One thing that is present and evident across the album is Coco's lyricism, which has been showcased very well throughout her music. What I Didn't Tell You showed her ability to really put storytelling into her songs, and she has continued to do so, elevating it on the album by infusing it with production and melodies that bring each track together in its unique way. Her growth in lyricism from her previous work to her debut album is a testament to her artistic development and her commitment to storytelling through her music. 

While love and relationships are a central part of the album, Coco shares her experiences of the good, the bad and the complexities in between. She also brings self-love and empowerment to the album. Embracing her sexuality and sensuality, and touching on other aspects of her femininity, she is embracing all parts of herself and her experiences. “Tast” is a teasingly sensual offering from Coco and is perfectly laced with the production by ​​StarGate, Jasper Harris, and Aaron Shadow. “AEOMG” interpolates Luther Vandross's 'Never Too Much' and has an edgier, much sultrier tone, thanks to Cirkut and M-Phazes, which reflects the song's nature. There is also “Nobody Exists” is a standout moment of the album, solely written by Coco and produced by London On Da Track, Boobie, Phil The Keys, Hero, and Ikey encapsulates the feeling of letting go and the feeling of being deeply connected with another  “Hit You Where It Hurts” blends a guitar/string-laced production. “By Myself” is a beautiful moment of accepting and embracing the independence that one has on their own and celebrating that within oneself. 

Coco is anything but fearless in how she has navigated her career despite the obstacles that have arisen at various points. And when you listen to the album, you can tell that she was not afraid to allow herself to open up and explore the depths of what she can do musically. Although the album itself has been four years in the making, the journey to get to this point has allowed for the experiences that have brought Coco to this point, and she poses the question: Why Not More? The album will undoubtedly mark a significant chapter in Coco's musical journey and will continue to prove that she is never one to be underestimated.

Two weeks ago, as this year’s edition of Coachella kicked off, social media in Nigeria, particularly on X, whirred with impassioned commentary from music and pop culture enthusiasts who bemoaned Nigeria's supposed lack of events like Coachella. “I wish we had events like this where we can get to enjoy performances from our favorite artists,” one comment reads. One can almost picture the deflated look on the commenter’s face. Yet this genre of commentary, if quibbles, struck me as strange. Coachella is both peerless in scale and scope, and in many ways is emblematic of the mammoth scale of the American entertainment industry. But, Nigeria is also blessed with its array of shows that allow pop culture enthusiasts to relish performances from their favorite artists. 

Our HOMECOMING™️—an annual festival founded by Grace Ladoja, in which music, fashion, sports, and arts become vehicles for cultural exchange and diasporic connection—is one such event. Nigeria’s increasingly hobbled economic situation coupled with Afrobeats’ dazzling outwards expansion means that the everyday Nigerian is largely prized out of access to their favorite music stars. And yet, since 2018, Our HOMECOMING™️ has consistently corralled some of the best and brightest music and pop culture personalities for their annual live show.

Keeping with tradition, this year’s event featured some of the most exciting voices in pop culture today—an eclectic mix of big names and fast-rising ones. Davido headlined the show. Wearing a white tee, cream-colored pants, a red jacket, and a green baseball cap to match his shoes, he thrilled fans with some of his biggest hits, as well as fresh cuts from his just-released fifth studio album “5ive.” Other heavyweights graced the stage. There was Teni, Lady Donli, Odumodublvck, Zerry DL, Cruel Santino, Minz, Odunsi, Llona, and Deto Black. But there was also a generous lineup of fast-rising acts. Zaylevelton—who is fast becoming a fixture in the Nigerian pop scene with his unique sound which intersperses Opium music with Nigerian slang—performed songs like “Yaad 2” and “Watching Me.” Deela, Shoday, LeoStayTrill, WannixHandi, DJ Obi, Smur Lee, MOJO AF, Valentino Rose, Kold AF, Rigo Kamp, and a host of others, also entertained fans with exciting performances. 

I arrived at the venue—Harbor Point, Victoria Island—feeling a mix of excitement and worry. Excitement, because of the incredible lineup of performing artists the poster had advertised. But my heart mildly twitched with worry because I was running a  little late. The event was scheduled to begin at “7PM sharp,” but I had arrived at the venue by 8:45pm. I quickly shuffled to the ticketing booth—a large white tent separated into four sections—where I got my tag without fuss. The attendant, a beautiful dark-skinned lady with brown eyes, typed my name into her computer, her back hunched over the computer as she carefully typed each letter with a single finger. “Chibuzo without the ‘R,’” I had told her. She lifted her head smiling and fastened a purple tag onto my wrist. 

I ambled forward, through a maze of white tents interspersed with colorful HOMECOMING™️ branding. A security guard, who had probably noticed me looking around as I tried to locate the actual venue, pointed me in the right direction. “Straight ahead, then first turn to your right.” As I turned right, It felt as though I had stepped into a different location entirely. Contrasting the relatively quiet entrance, this section was swarming with people. Orange-colored tungsten lights lit up the area. Music from the main tent blared with boisterous intensity. A picturesque installation by Jameson was to my left. It was fitted with a green leather sofa, a talking drum hung on the wall, two sets of tables, and a true-to-life-sized barrel emblazoned with Jameson branding. The whole thing felt like it was beamed in from a movie set. I wasn’t the only one in awe of the installation. Other attendees, similarly taken by it, scurried around as they posed for pictures.

On my right was a labyrinth of food stalls. A supermassive tent was set up in this area. Here attendees could rest their feet, cozy up with friends, or simply enjoy their meal. I walked forward, through a maze of barricades designed to control the flow of traffic. I entered the venue, and lo and behold, it was empty (save for the production crew and the occasional attendee milling around). So much for my worrying. I scurried back to the food section and bought a plate of rice, turkey, and a salad, which I hurriedly gobbled up. It wasn't until almost midnight before the show started properly—a classic feature of every Lagos party. 

DJ Obi’s set, one of the first performances, was exhilarating. Deploying a bubbly mix of Amapiano, Hip Hop, and Afrobeats, he got the entire hall dancing vigorously. One of my favorite things about the show was the production design. To be honest, it was nothing particularly spectacular. But the screens displayed an array of amazing animated drawings. I could make out Wase Taiwo’s art. I'm a huge fan of his work. Ayanfe’s work was also characteristically brilliant. But even the unfamiliar pieces reeled me in. And before long I found myself entranced by the rapidly mutating shapes and colors on the screen, as well as the loud music blaring from the speakers. It almost felt like a fever dream—or maybe it was just the weed, I had smoked a blunt and had a cup of Jameson. 

Lady Donli’s set was at once soulful and electric, like a tight hug from your crush. The crowd erupted when she performed “Cash.” I screamed so hard that my throat started to hurt. Zaylevelten’s set was one of my favorites. He skulked onto the stage wearing a Bola PSD polo shirt, sagged pants, and a backpack, crooning and trilling as flames flared on the screen behind him. SiRaheem brought his stealth swag to the stage, performing “BB Syndrome” and “Credit Alert.” Qing Madi was dazzling as usual. The crowd went ham when she performed “Ali Bomaye.” I had no idea the song was that popular. She closed the show with her 2023 hit “Ole,” which the crowd couldn't get enough of. 

Toye’s set was theatrical. In the middle of his performance, a gang of roguish-looking guys stormed the stage. My first thought was that something awfully wrong was about to happen. They turned out to be dancers. At some point, the DJ started playing Micheal Jackson’s “Smooth Criminal,” which Toye and his dancers choreographed to. Abruptly, the music cut to Toye’s “Faaji Jackson,” much to the glee of the crowd, who roared ecstatically. Kunmi performed his hit “Arike.” Mojo AF also thrilled fans with an energetic performance.

The show reached its climax with the arrival of Davido. Before he arrived, I half-expected him not to show up. The show had already gone great so far, and it was super late, almost 3am. If he didn't show up, it would be a bit of a bummer but at least I had had loads of fun. His arrival was however the cherry on a big beautiful cake. I was squeezing past the crowd, heading to the back to buy a cocktail, when I felt the atmosphere palpably shift. Something major was happening, after all, why else would the crowd be bellowing and hooting and screaming at this alarming frequency? I turned back and Davido was performing. I don't know how, but in a few minutes, I had squeezed past the crowd and was back at the front of the stage, phone in hand, filming the superstar, as I belted along at the top of my lungs. Davido is such an amazing performer. His performance carefully traversed the breath of his sprawling discography, treating fans to both his existing canon and his newly released 5ive album. 

By the end of Davido’s performance, I felt like an overfed kid. But there was still more. Odumodublvck delivered stirring renditions of some of his biggest tracks. I found his performance of “Legolas” to be especially cathartic, it almost felt like a church worship session. Cruel Santino took the stage after Odumodublvck’s long-winded performance, elevating the energy. Teni performed her hit song “Money,” shifting the atmosphere to a contemplative register. I left after her performance. It was around 4:30am, and I had an incredibly busy day ahead. HOMECOMING™️ 25’ lived up to its reputation of excellence. This may feel a tad platitudinous, after all, aren't reviews supposed to come packed with at least a measure of critique? But the show was really incredible. My only misgiving is that the show started awfully late. Which if you ask me, is a topic for an essay: why do Lagos shows never keep to time? Is it simply a culture? Are attendees hedging against the potential lateness of the organizers or vice versa? What exactly are the mechanics of the punctuality problem that plagues events in Lagos?

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Black Sherif isn’t holding anything back on his new album, IRON BOY. Two years after his acclaimed debut The Villain I Never Was, the Ghanaian artist returns with a body of work rooted in vulnerability, strength, and self-reflection. From the very first track, “The Victory Song,” Sherif sets the tone for what’s to come—an unfiltered look at the emotional and spiritual journey he’s taken since his last release.

Vulnerability is a key theme across IRON BOY. The album shows a more open, unfiltered side of Sherif that reflects how he’s grown since his debut in 2022. On “The Victory Song,” he immediately draws listeners into his inner world, speaking candidly about the trials and triumphs he’s faced over the past few years.

Since then, he has continued to expand his reach. With IRON BOY, Sherif builds on the foundation he laid with his debut, leaning into themes of resilience and strength while also opening the door to something deeper. “Aside from strength and resilience being the core of IRON BOY, I feel like the soul of it is vulnerability,” he says.

Sherif has always stayed true to his own sound. Across his freestyles, mixtapes, and debut album, he’s crafted music that reflects his life and voice without chasing trends. “We didn’t want just to leave everything that we had done with The Villain I Never Was,” he says. “The soul and the sonics for this were not trying to do anything too different, nor were they trying to do the same thing again. It was more so about where we can elevate this thing to.”

The album continues his creative partnership with longtime collaborators Joker Nharnah and Lekaa Beats. Together, they build track by track, weaving stories that reflect Sherif’s pain, healing, and resilience. His refusal to box himself into a specific genre is part of what makes his sound unique. “One about me is I don’t care about what my sound is, I just want to make art,” he says. “I just want to make the best thing I can make at the moment. Some art doesn’t entertain. Some art asks questions and reflects the times of the environments that the artist is living in, or the atmosphere in which it is created, and that is what I try to do with my art.”

Sherif’s creativity has always gone beyond music. His visuals, live performances, and overall presentation reflect how deeply art shapes every part of him. Fashion, in particular, plays a big role in how he expresses himself. “My clothing expression is parallel to the music I make,” he says. “They just kind of come together once in a blue moon, but to me, they are like brothers and sisters who go different ways.”

Style has always been part of Sherif’s artistic identity. He believes that the way people perceive him visually can influence how they hear his music. “I believe that everything starts from the eyes and the ears before the brain processes anything,” he says. “So, no matter what, how you see me might affect how you listen to me, and I try to play with that a lot.”

Sherif’s interest in fashion started early. Growing up in Ghana, he lived with his aunt, who sold second-hand clothes. His parents, who lived in Greece at the time, would ship clothes and other items for her to sell. This gave Sherif access to a wide range of styles and sparked his curiosity. “I never really cared about what people thought about my clothes because my interest in fashion was so intense that there was no room for me to think about what someone thinks about what I was wearing,” he says.

That same mindset has shaped how he approaches music. Sherif stands in his own lane, crafting work that reflects who he is without needing to conform. As a multidimensional artist, he takes his output seriously because it reflects how he sees the world and himself.

It’s not just about what the work means to him. He wants his music to speak to others, too. IRON BOY offers a message beyond his confident presence; it invites listeners into his most personal thoughts. “I feel like if everybody accepts that nobody is flawless, there will be a lot more people who can find confidence within themselves,” he says. “When you are used to growing up a certain way with certain views of what it means to be a man and what that looks like, a lot of people see me as somebody who is confident and is put together. However, when you listen to the first song on the album, I talk about crying in a hotel in London.”

That moment, and many others on the album, capture what IRON BOY represents in this new chapter of Sherif’s journey. It’s a body of work that blends truth with purpose. And at this point in his career, Sherif is clear about what he’s striving toward. “As an artist, I’ve tried my best to carve out a space for myself to be the person I want to be,” he says. “With this album, there are things that I wish I had heard from artists when I was growing up that I’m doing right now. Topics that I didn’t even think I needed as a music listener, and that’s what I’m trying to make my art about, because work like that doesn’t die. I’m trying to make meaningful and timeless art.”

CREDITS

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Photographer: Jonathan Tomlinson @jtjtjtjtjtjtjtjtjtjtjtjt

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Creative Director: Zekaria Al-Bostani - @zek.snap

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Producer: Seneo Mwamba @SeneoMwamba

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Stylist: Jacob R Levine @jacobrlevine

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Styling Assistant: @lenaangelides @y0ungabz

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Grooming: Afsha Kabani @afshaartistry

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Movement Director- Ayanna Birch @ayannabirch_

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Lighting Director @jonah_dali

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BTS videographer: Shirin Chorfi @shirinchorfi

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Design: @margokatesmith & @ShalemAlone

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Creative assistant : Whitney sanni @its.whit_

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Writer: Seneo Mwamba @seneomwamba

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PR: Emerald East @emerald__east

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Styling

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Look 1:

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Jacket - Ala Tianan @alatianan

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Top - KOAT @koat.ny

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Bottoms - Labrum London @labrumlondon

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Shoes - Roker Atelier @roleratelier

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Hat - Stylist own

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Jewellery - Emanuele Bicocchi @emanuelebicocchi

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Look 2:

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Suit - Labrum London @labrumlondon

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Top - Mains London @mainslondon

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Shoes - Stylist own

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Hat - Benny Andello @bennyandello

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Jewellery - Emanuele Bicocchi @emanuelebicocchi

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Look 3:

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Full look - William Palmer @williampalmer

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Shoes - Diemme @iprlndon

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Hat - Benny Andello @bennyandello

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Jewellery - Emanuele Bicocchi @emanuelebicocchi

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House music is an intricate part of the nightlife ecosystem and a prominent aspect of club culture. House music revolves around consistent beats and electronic sounds. It is predicated on a consistent tempo (4/4 beat) and a rhythmic consistency designed always to keep you up and going.

When we extend the conversation about house music in Nigeria, we talk about an intricate blend of traditional house music tropes with Afrobeats and other cultural influences. In a recent conversation with Dye Lab, Aniko, an EDM DJ and Producer in Lagos says " My mix of Laho by Shallipopi never fails to hype the crowd". Nigeria has fully embraced house music culture, creating a vibrant and dynamic space where people can enjoy themselves. Nigeria is experiencing a major rise in the house music movement, particularly in Lagos. 

In recent years, Lagos’s club culture has undergone a transformation. Once defined by spontaneity and open expression, many nightclubs now cater primarily to affluent individuals, emphasizing the rise of buying tables, expensive drinks and being onlookers rather than flowing with the music and dancing, shifting focus from community-driven energy to exclusivity. Yet in response to this shift, a new wave of house music collectives is reclaiming the dance floor.

These emerging brands are redefining nightlife; creating inclusive, intentional spaces where music serves as a submerging experience; a tool for connection, creativity, and cultural exchange.

Meets the Players

These powerhouses propagate the dramatic rise and acceptance of a vibrant subculture. They are cultural curators who have made it a point of interest geared towards  building the narrative of Nigeria’s party culture density.  

Element House

Element House is owned by Spektrum Ent.  It brings a vibrant and compelling atmosphere to Lagos, engrossing it with Afrocentric and tech house blends. It is community-focused and celebrates Lagos’s robust culture. It focuses on unique and authentic sounds, prioritising musical quality over volume. Through compelling initiatives and exciting social events, Element House is pushing the boundaries of Lagos’s nightlife scene, redefining Lagos house music as we know it.

Oontz Lagos

Oontz Lagos thrives on its immersive social experiences and recreational highlights centred around communal love and enjoyment.  Oontz Lagos is the social hub for music lovers and an event space to let loose and network. Oontz Lagos brings its own unique flair to its interpretation of house music by carefully curating events tailored to draw your party essence and expand your social battery.

Group Therapy

When we think about Group Therapy, we think about their signature neon green patterns that showcase their social invitations, we think about partnerships driven to provide the best social experiences, we think big, we think big energy and party vibes. Group Therapy is a Lagos-based house music collective known for its high-energy events and signature neon green visuals. With a focus on immersive social experiences and strong community partnerships, the brand has become a creative hub and safe space for partygoers and music lovers. Its events attract a wide range of audiences, contributing to the growing thirst for authentic nightlife engagement.

Raveolution

Raveolution is expanding its network, proliferating at an incredible rate and redefining nightlife experiences. Raveolution is propagated in the rave culture, a movement to spread and take over. It is dedicated to its community focus, essentially, they are ‘One Tribe, All about the music’. Raveloution strides alongside various other pioneers that contribute to Lagos’s dynamic social space.

Tamba

Tamba is energetic, pulsating, and keeps the party going through its party lifestyle. It offers an eclectic atmosphere which promotes diversity and inclusion.

Sweat it Out

Sweat it out exudes party culture and is committed to making its impression on the house music space. It places emphasis on the thrill, excitement and drive of the night. It boasts a robust party culture and the willingness to work with other brands that align with its values. Partnering with the links of Group Therapy to create moments with “Sweat Therapy”, Sweat it Out is committed to ensuring that Lagos house music is a thriving social space.

Sunday Service

Sunday Service provides an intimate space for parties and socialisation. With Sunday Service, they are not night-exclusive. Their social events also maintain a sustained thrill regardless of whether it’s night or day. It keeps that balance, so it tailors to the niche of two particularly distinct demographics. 

Monochroma

Monochroma brings a sense of class and boujee aesthetic. There’s an emphasis on quality and properly tailored music to suit the demands of Afro pop and electro sound lovers. It is a brand that brings its own sense of style and charisma. There’s something about the melancholic black tone in visuals, or how they blend art, music and technology. Whatever it is, Monochroma brings that sense of individuality that defines them.

A testimony to Nigeria’s house music atmosphere is commiserated by the second coming of the Boiler Room; a global house music powerhouse taking over the world through eye-catching moments, and long-lasting experiencing. Boiler Room is excited to tap into Nigeria’s robust cultural space, leveraging on Nigeria’s passion for socialising. 

This partnership stands to bring monumental gains and huge potential for scaling. Not only will it bring awareness to Nigeria’s house music culture, but also lead to more collaborations. Lagos continues to be at the forefront being a massive contributor to Nigeria’s social status.

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Our Homecoming strives to uphold every creative and artistic expression. This year, Our homecoming brings us a great run down of creatives and artistes pushing for the new era with that unique sound shining down their moonlight on Easter Sunday. Here’s the Wave 02 artist lineup for listeners with niche interests and good taste.

LADY DONLI

This revolutionary, experimental artist transforms life’s struggles into lyrical expression. Lady Donli stands as a voice for a generation, using self-expression, innovation, and creativity to reflect the realities of young Nigerians today. In her song “Nothing2Something,” a collaboration with Obongjayar, she sings, “I’m a young girl with about eight tattoos, dreadlocks too, the police come my side, they wan catch cruise.” The line captures the experiences of many young creatives who use appearance and art as forms of identity, despite facing societal and governmental prejudice in Nigeria.

This relatable sensation has made her way in many hearts with her unique and conscious mind and hopefully yours when you get to experience her blessed presence up on stage.

DETO BLACK

You may know her from her popular hit song with Odunsi (the engine), Amaarae and Gigi Atlantis called body count. A thorough Lagos babe and refers to herself as “Yoruba Princess”, she brings the heat and the hits with her sultry lyrics and insane vocals.

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FAMOUS PLUTO

Shallipopi’s mom made three superstars and Famous Pluto is the youngest of the trio. The star can’t help but drop tracks that have your whole body alive and head bumping from beats to lyrics.

JUNO

From her most recent release, “Love Life” Juno is obviously consistent in delivering anthems for the girlies who lead with love, but never forget their value. If your heart is soft but your mind, strong, Make sure to find your way to the front of the stage and scream your heart out.

KUNMIE

Lover boys are up x1000, Kunmie lets us know that to surrender to a lover is of our nature. Kunmie’s hit single “Arike” took TikTok by storm and We can only hope he’ll perform it live, Incase you’re willing to gush over a present lover or reminisce about the past.

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TXC

TXC is a South African DJ duo formed by Tarryn Reid and Clairise Hefke. As Amapiano continues to gain global popularity, the duo has been pushing the genre forward with their unique sound. Their tracks, like "A Fierce Piano" and "Turn Off the Lights", have made waves on the international stage. TXC is part of a growing movement of women in the DJ scene, showing the influence women bring to EDM culture.

LLONA

Formerly known as 2Classic, is a Nigerian singer and songwriter whose sound is laced with Afrobeats, Afropop, and alternative. His debut album Homeless (2024) is full of introspective hits like "HBP" and "Gangsta Love Letter," showcasing his raw lyricism and versatility. With a sound that mixes African rhythms with contemporary vibes, Llona is ready to capture the hearts of a new generation. Keep an eye on this  star!

MAVO

Student by day, Mavo so swag all night. Mavo deceives the audience with his outfit choices but don’t be misled, this Afrobeats artist is all about making waves with his unique blend of Yoruba rap and alternative hip-hop. With hits like "Tumo Weto" and "No More," he’s set to put on a show!

MOJO AF

Also known as Òrìsà, Mojo AF is a Nigerian hip-hop artist recognized for his unique blend of Yoruba rap and alternative hip-hop. He first gained attention in 2019 with his debut single “Chop Life Crew,” featuring Prettyboy D-O and has been up ever since. Watch out for the rap Jesu himself!

SAINT TAJ

This Lagos-Based DJ is known for putting you on to some good tunes, with her good taste in music, She highlights artists that need the spotlight, introducing her audience to gems and stars. Trust you might need your shazam out for her set because it’s all hits, no misses.

TOYE

Who doesn’t like to Faaji? This artist reminds us where you’re coming from, where you’re going to and where you’re at right now. Honoring his roots, Toyé loves to create his sound from genres from childhood core memories like Fuji, Highlife and blends them in R&B and Afrobeats to make up his genre which he terms ‘Afrofusion’.

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ZAYLEVELTEN

If you like to party, you might want to be in front of the stage for this one. He’s bringing the goodies. Zaylevelten is a rapper, and hip-hop producer with the fun sounds and energy that Alté people love.

With this amazing lineup, expect a range of performances that dance around this year's theme, "A Manifesto For The New Creative African Era" and continue to celebrate creativity and individuality.

It’s Easter and that means it’s time for Our Homecoming! This weekend is going to be packed and filled with fun activities and insightful discussions on panels curated by Grace Ladoja. Best known as a cultural curator, Grace transforms Lagos into a celebration of African creativity through Our Homecoming. , The weekend of culture communion, a return to self, and a platform for future-building. It incorporates all things related to the lives of the people from music, fashion, to visual art, but perhaps its most quietly powerful feature is the Homecoming Summit, a space for honest conversation and creative excavation. It also features a workshop for various creative minds.

The 2025 Homecoming Summit brought together a dynamic and thoughtful lineup of speakers whose work spans art, design, fashion, music, and strategy. On stage were:
Yoon Ahn, the visionary behind Ambush; Gabriel Moses, whose cinematic visuals continue to reshape modern portraiture; Ozzy Etomi, co founder of dye lab; Rukky Ladoja, the cofounder of dye lab; Tomisin Akinwunmi, founder and music and culture strategist of lucid lemon; Yinka Bernie, sound artist, music producer and creative consultant of Egwu records; Vincent Van de Waal, creative director PATTA; Tiwalola Adebayo, founder and confidence coach of confidence and killing it; and Desmond Vincent, a researcher and cultural writer amongst others. 

Each speaker brought vulnerability, clarity, and real perspective to the room offering hard-earned lessons and challenging the next generation to think more critically, work more deliberately, and dream even bigger.

Yoon Ahn emphasized that there are no shortcuts in this journey. She says in a recent X post “ But I want to remind you again that real life isn't as simple as TikTok's 'how-tos.' There's no silver bullet, cheat code, or 30-second shortcut that skips the steps. The path is absolute. The process matters. And the work is yours. Embrace it. And if you are not asking specific questions, that means you are not thinking deeply enough so dig deeper.” Basically emphasizing that  The panels weren’t about handing out step-by-step guides or formulas for success. Instead, challenging attendees to think critically, ask better questions, and engage deeply with their process. In an era obsessed with overnight success and quick wins, the summit pushed back emphasizing intentionality, patience, and doing the actual work.

That’s what sets Homecoming apart. The festival showcases culture and proceeds to interrogate it. It invites young creatives, entrepreneurs, and dreamers to participate not just as spectators but as contributors. Whether listening to industry leaders speak on creative economies, sitting in on intimate fireside chats, or connecting over shared ambitions, participants are reminded that growth requires clarity, consistency, and courage.

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What is Homecoming?

Since its inception in 2018, Homecoming has positioned Lagos as a global node of creative exchange. It brings together African talent and diaspora communities, merging high-end fashion with local streetwear, spotlighting emerging artists, and elevating cultural narratives that are often overlooked.

Across its five-day program, Homecoming delivers: Live performances from some of the influential names in music in likes of Deela, Blnde, Dj Yk Mule, Cruel Santino amongst others, and upcoming artists like siraheem, Retail and fashion pop-ups by Nigerian designers with exclusive collaborations highlighting fashion brands like Meji Meji, WWYD, PithAfrica amongst others, Sports culture events like skate and basketball showcases, Workshops like the one Dj Spinall, Dj Coco Em amongst others this year, Art exhibitions and creative installations throughout the city, And the Homecoming Summit, where the future of African creativity is discussed, dissected, and dreamed into existence.

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HI-FI: OUR HOMECOMING’S VERY OWN RAVE 

If the summit was for the soul, HI FI was for the spirit. Back for its second edition, HI FI is fast becoming one of the most anticipated nights on the Homecoming calendar, the rave celebrates EDM culture, underground music scenes, and everything experimental, loud, and liberating.

This year’s HI FI built on the momentum of its debut and took things to another level. The DJ lineup had the city in a chokehold, featuring ANIKO (Group Therapy), COCO EM, DEL NOI (Element House), DOGHOUSETV, LABOOM NEKTUNEZ, SONS OF UBUNTU (Sweat It Out), DJ SPINALL (exclusive house set), WEAREALLCHEMICALS, YANFSSSS, and YOSA.

HI FI is an extension of Our Homecoming’s creative language. It opened new doors for how we gather, connect, and celebrate music that defies definition. For the growing community of culture lovers who now mark HI FI on their calendars each year, it’s clear: this is just the beginning of something special.

Homecoming is a blueprint. A living proof that African youth culture is already shaping the world. It’s a movement rooted in substance, sustained by community, and constantly expanding the definition of what’s possible. Those who show up, do the work, and stay curious are the ones rewriting the narrative on their own terms.

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There’s something about nighttime gatherings that gives them their great sense of appeal or longing. Think of it as an escape from the demands of daily living, the consoling illusion of shedding away responsibilities or other daytime impositions for a great time. Truly, nighttime gatherings create fertile grounds to indulge in hedonistic pursuits, creating an emphatic contrast between night and day, and how these periods shape our gatherings. Social patterns often reflect the sociocultural realities, meaning that dramatic changes can often lead to the sustainability, growth, or even the disappearance of certain social habits, and it is on that premise that several factors have contributed to the existential crisis of rapidly declining nightlife trends. People are not partying as they used to, and this issue has echoed across the globe. We probe into the complex network of sociocultural issues that have propagated the rise of a generation of less sociable beings. We seek to understand the problem, exploring critical issues and delving into the discourse of a potentially dying culture.

The nighttime scene is in a deplorable state. People are habitually on their phones, there’s no flair for establishing connections, and everyone’s cautious about getting drunk. There’s a decline in social appeal and general debauched perception regarding nightclubs. The crumbling effects of the COVID-19 pandemic, combined with the explosive rise of technology and increased economic pressures, have all played a significant role in inducing social reforms. These factors haven’t just tampered with nightlife but has also reshaped the way people interact and engage with one another. Night culture has been subsumed by these broader reforms, and as such, we are faced with the dilemma of adapting to a world that is slowly disconnecting from the dark.

In a video publication, BBC draws our focus to UK nightclub culture. It focuses on the impact of economic setbacks on youth culture, particularly how clubbing landscapes, as well as other nighttime siloes are reaching all-time lows—is the party over? The gradual decline and imminent extinction of nightlife is becoming an existential threat. The Night Time Industries Association (NTIA) argues that with the current trends, the era of UK nightlife may face cultural extinction. Michael Kill, the CEO of NTIA, speaks and addresses the impending impacts on the nighttime economy. He ponders on the “systematic dismantling of the nighttime economy” due to the “loss of jobs, culture, and a vital part of the UK’s social fabric.”

This critical issue underscores the pandemic as a social disruptor, which has reevaluated and restructured social habits. In a report by Hospitality Market Monitor, they reveal a 30.0% net decline in nightclubs from March 2020 to June 2023. The prolonged social distancing induced recreational indifference, alternative experiences, and increased mental and physical health awareness.

These fluctuations in social mannerisms and nightlife intrigue are not endemic to the UK alone. The problem of a dying nightlife culture extends to other parts of the world, with the United States equally being in a dire spot, putting them in one critical umbrella. While similar cultural and economic issues are at play, the overarching issue lies in the declining interest in alcohol consumption rates among younger demographics. “You’re seeing a real shift in alcohol consumption”, said Max Chodorow, a restaurant and subterranean club owner in Manhattan, in his interview with The New York Times. He expressed a dying youth culture, and the sustainability of nightlife, noting that we are, “seeing a real shift in the sustainability of nightlife in the current format”.  The increasing awareness of the deteriorating effects of alcohol, coupled with the broader decline of physical socialisation, has critically altered the way people drink, weakening communal indulgences.

According to a Gallup survey, alcohol consumption rates have seen a steady decline in recent years—a problem that T.W. Arrighi points out as a “massive problem”. Although he appreciates the growth in alcohol health awareness, he addresses socialisation concerns, particularly with social hub closures, due to low attendance rates.

People are aggressively abstaining from alcohol; therefore, bars suffer, clubs suffer, as well as other industries that thrive on bottle sales. This, in turn, has led to a growing loneliness epidemic; an unrealised, subtle focus shift from socialisation in public places to more private, intimate spaces. As Rafael Ohayon, the runner of club Gabriela in Williamburg, remarks, “it hit everybody hard and kind of made everybody question what’s happening out there”. 

In Germany, the post-pandemic, coupled with declining numbers and steadily increasing rent costs, has led to club closures, leading to the closures of iconic clubs like the revered  Watergate and major concerns for other clubs like Neue Zukunft and Club Ost. Undeniably, we are experiencing the era of what could potentially be Germany’s clubbing crisis.

Meanwhile, in South Korea, the rise in health consciousness, evolving behavioural patterns, particularly among working-class women, and inflation have stifled drink consumption rates and increased erratic drinking habits. So, the traditional practice of drinking silly is fading. Simply put, South Koreans aren’t getting drunk anymore.

Shifting the focus to Nigeria, the conversation of declining nightlife trends is still maintained, but it differs in scale and nature across global comparisons. The key macro factors are much more distinct, with issues largely concentrated on the rise in safety concerns and the ever-growing inflation rates.

Despite these pressing issues, the discussion of a “dying” nightlife doesn’t quite fit into Nigeria’s social ethos. You see, the upbeat and energetic nature of Nigerians remains deeply embedded in their sociocultural lifestyle and national social web. Being the fulcrum of Afrobeats and the social hub of the continent, Nigeria continues to boast of a thriving, robust social scene. Social highlights such as Detty December and the IJGB (I just Got Back) serve as drivers, reinforcing Nigeria’s powerful nightlife culture

The comparative overview of this issue highlights two key insights: one, the interplay of several endemic societal issues can lead to shared, global problems, and two, generational preferences create trends that reframe cultural norms and perception. Essentially, the push for revitalisation starts with you and me. We can potentially save a key part of socialising by employing pragmatic approaches through systems and incentives. This includes promotions, incentives, revised regulations, among other initiatives.

The nightlife scene stands at a critical crossroads. We’re slowly gravitating towards a less sociable, more individual-based society. Technology is great, but it has marred social interaction, creating a generation that favours screens over faces. The economic quandaries, such as inflation, affect appeal, so people are less likely to engage in recreational activities or indulge in guilty pleasures. There is a pressing need to reinvent the nightlife scene and offer mediums to change perception as a luxury.  Nightlife culture is struggling to adjust to the times. It is failing to suit the demands of our ever-changing world. So, we need something new, something vibrant, something that aligns with the present while still maintaining the underlying foundations of what makes one feel alive.

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Nyshan, better known as Nyshan Shot That, is a photographer whocaptures moments with honesty, emotion, and a sharp eye for storytelling.Whether he’s behind the scenes with your favorite artist or documentingintimate, everyday moments, his goal is always the same—make it real.

His latest project took him on set withVybz Kartel, for what’s believed to be one of the dancehall legend’s firstmusic videos shot in the U.S. since his release. One portrait in particularstands out—Vybz Kartel in front of a bold yellow wall. “That wall just felt so Jamaican to me,” Nyshan says. “It feltauthentic, like something you'd see walking through Kingston. I knew I had toshoot it.”

Photography started out as a fun hobbyfor Nyshan. He was always surrounded by music and creative people, so it feltnatural to pick up a camera. “I bought a cheap one just for fun, just for theInstagram pics with friends,” he says. “But everyone kept telling me the photoswere fire, so I kept shooting.”

The turning point came when one of his friends asked him to shoot their performance while opening for Lil Durk. Nyshan stuck around and ended up shooting Lil Durk’s set too. “That was it for me. I was locked in,” he says. “King Von reposted my photos from that night. I was 18. That meant everything.”

Nyshan’s approach is simple and intuitive. "I try not to overthink it. I take photos the way I’d want someone to shoot me. That mindset has really helped me build trust with the people I work with.” His work doesn’t just look good, it feels good,and that’s what makes it stick.

He’s now working on a special projectcalled “PINK,” a personal body ofwork built around an acronym he created. While the full meaning is still underwraps, he’s already dropped a teaser trailer and promises something unique. “Idon’t want to give away too much yet, but it’s something I’ve put a lot into. Ithink people are really going to feel it.”

From big stages to quiet corners, Nyshan Shot That continues to tell stories that matter—through color, composition, and connection. His journey is just getting started, and his lens is always ready.

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Once the undisputed king of global music festivals, Coachella is now sparking conversations online not about what happened, but about what’s missing. As Twitter timelines fill with commentary, memes, and a recurring nostalgia for Beyoncé’s 2018 performance, many are wondering—has Coachella lost its magic?

Between 2014 and 2016, Coachella felt like a cultural pilgrimage. In those years, OutKast reunited after nearly a decade offstage, kicking off what felt like the golden era of surprise sets. In 2015, Drake headlined, and though his kiss with Madonna was the headline, the festival still drew excitement for boundary-pushing performances. For 2016, LCD Soundsystem and Guns N’ Roses shared a lineup and the crowd loved it!

During that era, Coachella was the culture. It was significant, all the rave. It chose the outfits, set the style, and became the talk of the town—echoing across timelines for weeks. This was also the golden age of Tumblr aesthetics, flower crowns, and filter-heavy Instagram posts, when Coachella was the moodboard of fun. 

Fast forward to 2025 and the narrative has shifted. While Coachella still sells out with general admission tickets starting at $649, it seems fewer people are going for the music. Online, attendees complain of $30 fries, heat exhaustion, and stages so far apart that you need a travel itinerary just to navigate.

And yet, the livestreams tell a different story. The YouTube stream is crisp, expertly directed, and gives viewers front-row access to the biggest acts without the dust, traffic, or $15 bottles of water. For many, the best seat in the house is at home.

Online discourse continues to orbit around Beychella, Beyoncé’s 2018 headline performance that redefined what a festival set could look like: Black excellence, HBCU culture, and musical precision on an epic scale. It was theatrical. It was studied. It was historic. Since then, fans argue, no artist has come close. 

The comparison is stark. While Coachella 2014–2016 innovated with energy, genre-mixing, and surprise moments, Coachella 2025 feels more like a brand activation space, optimized for content, not culture. Notwithstanding, Coachella 2025 is carving a different identity— polished, content-ready, and occasionally, still iconic as Megan Thee Stallion practically set the stage on fire, bringing out Queen Latifah, Victoria Monét, and Ciara in a show-stopping moment that felt like a celebration of women, and their legacy.

Tyla also silenced any doubts, stepping fully into her global pop star era with a set that had fans declaring she "ate" her performance. And then there was Charli XCX, who pulled the kind of surprise that makes Coachella moments legendary like inviting Lorde onstage for a joint set. These flashes of brilliance prove that Coachella 2025 still has cultural weight. But despite the spectacle, many can’t help but feel that it’s no longer the heartbeat of youth culture, it’s something more branded, more calculated, and somehow, less raw.

Attendance is still high, with over 125,000 attendees per day with live streams even higher. According to YouTube’s 2023 report, Coachella’s livestream pulled over 80 million views across the weekend. 2025 is expected to surpass that but TikTok and Twitter trend more toward complaints and commentary than celebration, so would that really happen?

Begs the question, Is it close to being over for coachella? Still being a massive commercial success, Coachella is a platform for artists to reach millions. But its soul, the thing that once made it feel like the heartbeat of youth culture, seems to be harder to find among the dust and dollar signs.

The festival that once defined a generation now seems best remembered in clips, tweets, and YouTube replays.

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Ukombozi, the latest collaboration between the London-based composer team Thunderdrum and British-Tanzanian artist Tiggs Da Author, serves as a compelling soundtrack for Ubisoft's "Assassin's Creed: Shadows." Released on April 4, 2025, this eight-track album intricately weaves together diverse musical elements, reflecting the game's rich cultural and enhancing its immersive experience.

Tracklist:

1. NGUVU NI UMOJA (Shadows Theme)
   
   
2. MWANAJESHI
   
   
3. UKOMBOZI - Pt I
   
   
4. UKOMBOZI - Pt II
   
   
5. HADITHI
   
   
6. CHINJA
   
   
7. JENGA JENGA
   
   
8. UKOMBOZI (Epic Version)
   
   

The album's title, Ukombozi, meaning Liberation in Swahili, encapsulates themes of freedom and resistance that resonate throughout the game. This thematic essence is vividly portrayed in tracks like "NGUVU NI UMOJA" (Strength is Unity), which sets the tone with its powerful blend of traditional African rhythms and modern psychedelic rock elements. The collaboration between Thunderdrum and Tiggs Da Author brings a unique experience always, seamlessly integrating East African musical traditions with contemporary sounds.

"MWANAJESHI" (Soldier) continues this narrative, delivering a rhythmic march that mirrors the protagonist's journey through conflict and camaraderie. The dual-part title track, "UKOMBOZI - Pt I" and "UKOMBOZI - Pt II," serves as the album's centerpiece, offering a dynamic progression from contemplative melodies to anthemic crescendos, symbolizing the path from oppression to liberation.

The inclusion of traditional Japanese instruments, such as the shakuhachi flute, alongside African percussion, reflects the game's setting in feudal Japan and the diverse backgrounds of its characters. This fusion is particularly evident in "HADITHI" (Story), where the interplay of these instruments creates a soundscape that transports listeners to the game's world.

"CHINJA" (Slay) and "JENGA JENGA" (Build Build) offer contrasting moods— the former, an intense, fast-paced track echoing the heat of battle, and the latter, a more uplifting melody symbolizing reconstruction and hope. The album concludes with "UKOMBOZI (Epic Version)," an extended rendition that encapsulates the album's themes, leaving listeners with a resonant sense of triumph and reflection.

Tiggs Da Author's fluency in Swahili and his East African heritage bring authenticity and depth to the vocals, enriching the storytelling aspect of the album. His collaboration with Thunderdrum, known for their innovative compositions, results in a soundtrack that not only complements the game's narrative but also stands alone as a significant musical work.

"Ukombozi" is available on major streaming platforms, including Apple Music and Spotify. Thunderdrum and Tiggs Da Author have crafted a soundtrack that not only enhances the gaming experience but also resonates with listeners on a profound level, celebrating themes of unity, struggle, and liberation.

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Step into the world of Duckwrth—where fashion is a bold statement, lyrics carry raw emotion, and passion burns with the intensity of a rockstar. He isn’t just making music; he’s reshaping the alternative and punk scene, drawing from the greats while redefining what it means to be a Black rockstar in today’s era.

In a world where genre boundaries are blurring faster than ever, Duckwrth stands as a true sonic explorer. His music is a fusion of influences—hip-hop, funk, punk, and electronic sounds collide in his discography, forming his own artistic fingerprint. With his latest album, All American F⭐️ckBoy, he takes listeners through a deeply personal and layered experience, exploring themes of identity, love, and self-discovery.

It’s early morning when Duckwrth picks up the call, greeting with an energy that feels both calm and electric—a fitting reflection of an artist who moves effortlessly between sonic extremes.

“I guess my body is adjusting to being a morning person, ” he laughs. “I just woke up now.”
Born and raised in South Central, Los Angeles, Duckwrth’s artistic origins stem from an encounter that would unknowingly set his creative path in motion. “I was around 14 or 15, riding in the car with my mum, when I saw this Black kid skating in front of us, ” he recalls.  “At that time,

you didn’t really see that in South Central. He did a trick in front of the car, and I was like, ‘D**n, I want that. I want that lifestyle. ’ That moment stuck with me.”

From there, his journey through art and music evolved. University became an incubator for his creativity. “I was fully immersed in an artistic culture, constantly creating, ” he says. “We were just making things for the sake of making them. No restrictions.”

Duckwrth’s new project is one of his most personal yet. “The themes I explore are accountability, vulnerability, and toxicity, ” he shares. “But beyond that, there’s a certain energy—electric, colourful, deeply textured. It’s vibrant but also introspective.”

The album peels back the layers of human nature, tackling infidelity, ego, childhood trauma, and self-discovery. He describes it as a raw, genre bending work that embraces life's complications. “I wanted to explore the messy parts of identity and relationships, ” he explains. “It’s not always clean-cut, which makes it real.” A recurring theme in his work is the impact of technology on human connection.

“The way people date now is online shopping, ” he says bluntly. “You swipe left, swipe right—it turns people into products. It takes away the depth of connection.”

Duckwrth believes attraction is so much deeper than a well-curated selection of images. “Some of the most beautiful connections I’ve had were with people who weren’t necessarily my ‘type’ at first, ” he says. “But then you get to know them, and suddenly, their mind, their heart, their energy—it all makes them beautiful in ways you never expected. ”One of the most striking elements of “All American F⭐️ckBoy” is its visual language. The cover for Toxic Romantic carries a dark but magnetic energy. “I love playing with shadow and light, ” he says. “I’ve always been drawn to artists who do that.”

But Duckwrth also consciously decided to balance perspectives in his visual storytelling. “For the main album cover, we worked with an all-Black, all-women creative team, ” he says. “From the photographer to the stylist, to the hands in the shot—every element was intentional. That felt important to me.”

As the conversation turns to lighter topics, Duckwrth is asked to name songs that match different moods. For wash day, he picks: “Tame Impala – Currents.” To calm the nerves: “Minnie Riperton – Les Fleurs.” A song he wishes he wrote: “Maybe something by N.E.R.D or recently, ‘Judge Judy’ by Tyler, The Creator. That one hit different.”

When the topic shifts to culture and what it means to him, Duckwrth leans in. “Culture is a response, ” he says. “To society, to politics, to the economy. It’s how people take their experiences and turn them into something—whether it’s music, fashion, film, or movement. ”

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And when it comes to influence, he doesn’t hesitate to recognize the root of it all.

“Black culture is culture, ” he states. “We set the tone. We always have. But what’s unfortunate is that the source doesn’t always get its flowers. The commercial version often gets the shine, while the originators don’t. That’s something that needs to be recognized more. ”

How does Duckwrth get in the zone creatively? “Conversation, ” he says. “Kicking it with friends, eating good food, laughing. The energy just builds from that. When I was finishing this album, though, it was different. I was locked in. No distractions. Just getting the work done. ”

As the conversation winds down, Duckwrth reflects on All American F⭐️ckBoy.

“This is my best work to date, ” he says confidently. “The storytelling, the genre-blending, the production—it all just clicked. I can’t wait for people to hear it and experience it live. It’s gonna be a ride.”

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CREDITS:

Photographer: Peter O’Sullivan @peterosullivan

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Creative Director: Zekaria Al-Bostani @zek.snaps & Cherise Hewitt @dripeisha

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(Looks 3&4)

Producer: Seneo Mwamba @seneomwamba

Co Director: Cherise Hewitt @dripeisha

__Styling: Ramario Chevoy @ramariochevoy

MUA/Groom: Carly Corrine @carlycorrinemua

Hair: Aux @thisistheconceptcompany

Dog: Teddy @followteddybear

Dog Handler & Creative Assistant: Nadeem Ahmed @nadderz

_photography

Creative Assistant: Whitney sanni @its.whit

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Design: @ShalemAlone

Journalist: Thandie Sibanda - @thanddd

Studio: Bread & Butter Studios @breadandbutterstudios

PR: Lucid Publicity @lucid.publicity

Styling

Look 1

3 Piece Suit: @brisnclarkeofficial

Shoes: @Vagabondshoemakers

Look 2

Oversized PufferJacket & Trousers: @axiiom

Knitted Polo Top: @samsoesamoe

Footwear: @diemmefootwear

Earrings & Ring: @luckylittleblighters

Look 3

Full Outfit: Oswald Boateng @ozwaldboateng

Shoes: @vagabondshoemakers

Look 4:

White Leather Trench: @MainsLondon

Shirt: @Brainclarkeofficial

Jeans: @dailypaper

Tie: @ozwaldboateng

Shoes: @samsoesamoeLook 5

Fur Gilet & Denim two piece: @mainslondon

Hat: @bennysndallo

Boots: @timberland

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This interview features  Giwa Babatunde David (Crayvelli), a multidisciplinary creative who seamlessly navigates the worlds of DJing, fashion, and digital illustration. Throughout the conversation, Crayvelli shares insights into how these creative disciplines intersect in his work and personal expression.

Crayvelli describes his breakthrough moment in the music scene after persistently pursuing opportunities to perform at Mainland Block Party's Secret Garden venue in 2019. His journey from making mixes for friends to professional DJing illustrates his determination and authentic approach to art.

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DEEDS MAGAZINE: Your journey spans multiple creative disciplines - from digital illustration to fashion and DJing. How do these different art forms intersect and influence each other in your personal creative process?

CRAYVELLI: As a DJ, I think of music the same way I think of style—it's about curation, blending elements, and creating a vibe that speaks to people. Everything that I do influences the other either directly or indirectly because in retrospect, every music genre has a fashion and visual aesthetics.For me, fashion, music and DJing are all interconnected—they feed into each other and shape my identity.

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DEEDS MAGAZINE: As a DJ, what was the defining moment that transformed music from a hobby to a professional passion? Can you share the story behind your first significant breakthrough in the music scene?

CRAYVELLI: Considering that I’ve had my DJing skills since I was a teenager, I just made mixes and post them online whenever I could and my friends would download the mixes. I was really just having fun with it until I attended a Mainland Block Party in 2019, As soon as I set foot in Secret Garden, I knew wanted to DJ there so I spent the next couple of months trying to get on, submitting mixes, and reaching out, but I kept getting ignored. After months of shooting my shot, I decided to take a different approach by I tweeting at Alhaji Popping, letting him know I had been trying to get a set. That tweet got his attention, and I was put in a poll alongside other DJs. I ended up winning, and that was my official entry into the music scene.

DEEDS MAGAZINE: Your background in digital illustration seems unique for a DJ. How does your visual artistic perspective inform your musical selections and mixing style?

CRAYVELLI: Honestly, I just think of myself as a creative and all I have been doing is expressing myself unapologetically. However at the core, It’s all about storytelling and how I make people feel when I DJ

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DEEDS MAGAZINE: Digital platforms have dramatically changed how DJs discover, share, and perform music. How has technology transformed your approach to DJing compared to when you first started?

CRAYVELLI: Yes definitely! When I started learning to DJ, laptops weren’t popular, I was mixing on USB Scratch CD Players which means that’s music had to be burned into CDs or downloading songs on flash drives which can be really tedious but now, there’re bunch of platforms, softwares and gears that simplified DJing and made sharing music accessible. I’ll say my approach didn’t really change rather, it evolved as I learnt to use these new tools however, reading the crowd, selecting and mixing the right tracks, and curating the vibe will always be at the core.

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DEEDS MAGAZINE: You've built a reputation in both the fashion and music worlds. How do you navigate these interconnected creative industries, and what challenges have you encountered in maintaining your authenticity?

CRAYVELLI: Like I stated earlier that everything I do is a form of self expression, Music, Fashion feed off each other and I focus on creating what feels true to me because that’s what keeps people connected to my work at the end of the day. I’d say my biggest challenge so far is the pressure to follow what is trendy because both industries move fast.

DEEDS MAGAZINE: Walk us through your process for curating a setlist. Do you approach a club gig differently than a Festival?

CRAYVELLI: Honestly, I don’t necessarily curate a setlist, I just listen to a lot of music, make remixes and playlists for different vibes and genres while also paying attention to music people are enjoying in general as well, that way, I show up at gigs and we all have fun together because it’s all about having fun for me, I don’t like to overthink it.

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DEEDS MAGAZINE: What’s the most unexpected hurdle you’ve faced as a Dj, and how did you adapt to overcome it?

CRAYVELLI: There’re lots of challenges actually but I’ll say some of the prominent ones are terrible song requests and technical issues. DJing has helped improve my problem-solving skills because you learn to troubleshoot and make things work on the spot.

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DEEDS MAGAZINE: Beyond the technical skills, what do you believe is the most important emotional or intuitive element of being a great DJ?

CRAYVELLI: Reading the energy of the room, that helps you connect to the crowd and you get to give people what they need without them realizing it.

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DEEDS MAGAZINE: Looking ahead, what are your most ambitious goals? Are there any uncharted territories in music, fashion, or digital art that you're eager to explore?

CRAYVELLI: There’re a lot actually but I’ll really like to travel the world while DJing and also curate experience that blurs the lines between these art forms. I would like to merge the experience into something immersive. 

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DEEDS MAGAZINE: What’s next for Crayvelli? Any dream collaborations or projects? Lastly, what advice would you give aspiring Djs trying to carve their own path?

CRAYVELLI: Currently my primary focus is curating these experiences that I highlighted earlier because I don’t believe in limits. Some of my dream collaborations would be with Nike, Rema, Skepta and ASAP Rocky. My advice to Djs is to stay true to themselves, believe in your own sauce and listen to a lot of music.

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Being in a collective has always made me as a creative feel like I’m part of something greater than myself and my work, the collaborative energy that brews

from sharing an idea and wanting to push the same narrative to a mainstream audience feels like a recipe for greatness, every project that gets churned out

challenges to be the groups magnum-opus, due to the fact that it isn't for one person's gain but to equally propel the collective to a new dimension of “popularity”.

Let's take a less subjective view on the subject/topic

Pre 2000’s Era Rap Groups

NWA, Wu-Tang Clan, Grandmaster Flash & The Furious 5, Public enemy, The Fugees and Run DMC are some of the household names in the rap game with their influence in the industry being inseparable from the history and current popularity of rap itself. These groups were pivotal in the shaping of culture and entertainment in their era and that influence has bled into contemporary music and style. From speaking against power structures and fighting against oppression in the case nof N.W.A with “F*ck tha Police, to setting fashion trends through their pens in the case of Run-D.M.C with “My Adidas”, a song that led to a $1.6 million endorsement deal, marking the first time a rap group partnered with a sportswear brand.

This era was also marked by innovators like Grandmaster Flash and the Furious Five, whose groundbreaking techniques and equipment expanded hip-hop’s sound. It's safe to say the very nature of what we now understand as rap and hip-hop culture wasn’t shaped by 1 artist or creative, it took the effort and collaboration of multiple creatives to create a new and lasting narrative.

2000’s Era Rap Groups

New Age rap collectives like A$ap Mob, Odd Future, Migos and Pro Era, have in no way dimmed the light on what is possible, with these groups churning out chart topping projects and facilitating “HIP-HOP X HIGH FASHION” collaboration.

DECLINE OF HIP-HOP COLLECTIVES

The very nature of a group is an eclectic combination of different personalities and talents with a common goal. Playing devil’s advocate, The idea of a common goal can be conflicting with the interest of the already diverse nature of the groups members, often leading to internal disputes and consequently the group breaking up. In some sense a collective provides the opportunities for a complete team to create interesting projects but the fact remains that individual members desire a creative path for themselves.

SELF SABOTAGE

With all the rap groups highlighted, one name comes to mind as the “lead act” in each collective, this truth poses another challenge, what happens when one member becomes more famous than the group itself, who gets the recognition? This causes an inevitable imbalance that sabotages the longevity of the collective. A hard pill to swallow as a rap and hip-hop enthusiast, there have been fewer leading collectives in the game in recent years, but I understand from the artists perspective to want a personal image and brand.

To the remaining rap groups and to the independent rapper, Godspeed.

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FOR THE BOY IN ME, the debut album from Canadian R&B singer Dylan Sinclair, profoundly reflects personal growth. As you press play on the album, you embark on a 12-track journey of self-reflection. Dylan's willingness to tap into his vulnerabilities and share the experiences that have shaped him over the last few years is refreshingly raw and honest, inspiring listeners to embrace their own growth.

Hailing from Toronto, Canada, he once again showcases what Canada has to offer in R&B, a touch of music that has been one of the most exciting cultivators of budding talent. Alongside the likes of Savannah Ré (with whom he has collaborated) and others such as Aqyila and Chxrry22, to name a few, are a couple of fresh sounds bringing something different to the current music landscape.

For Dylan, music has been a part of his life for a while now. "A family friend of mine had a studio, and he invited me to work out of there on the weekends. This was back in high school, so he would invite me to come and make music, nothing too serious. That was my first few months on the scene, making stuff and considering putting out music," he says of his beginnings in making music in a studio while he was still a high school student.

He has since released three EPs, leading up to his debut album, FOR THE BOY IN ME. Tapping in with producers Jordon Manswell, Bryan Allen, and Zach Simmonds, he crafted a body of work that effortlessly displays his talent sonically and lyrically and shows him as a name to know when it comes to R&B. 

As we speak, we touch on everything from the album to more. 

I'm curious about the title FOR THE BOY IN ME. How did you come up with the title?

FOR THE BOY IN ME was essentially a channelling of my inner child and youth because as I continue to evolve and expand, I've learned that a lot of what that looks like is connecting with yourself on a deeper level. I like to do a lot of internal growth, having those moments of nostalgia and being able to be with yourself and just feeling like a boy. I may suffer from Peter Pan syndrome, where I have this weird feeling towards growing up, but then I want to do it my way. And this album is just me figuring out what that looks like; it's me navigating my career, my relationships, and my relationship with myself in the world.

Encapsulating all of that in the album and everything that it speaks to, where did that begin for you?

In artistry, you can't fake it. You have to tell it how you live it. So I went through my experiences as an emerging artist, and I just started writing songs based on my experience, and that's how the music came about. It was reactive to my experience, and then, as for the title, we just stumbled on it as we were in the studio, brainstorming. There are times in the studio when you're making music and just talking and figuring out what you're trying to say. And it was one of those that we just stumbled on in conversation.

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In terms of being on this journey and getting to this point, what moments have led you up to creating this body of work at this stage of your life and even at the stage of your career right now?

Falling in love with what I do is a big part of it. I love making and performing music, which will always be a part of my work. I aim to get better at it every day. My growth reflects my commitment to making the best music I can.

What was the moment you knew you wanted to make this album? Did it happen intentionally, or did it come together without you realising it?

Coming off the tour, I knew I wanted to make an album, and then the process of getting to where we are involved, a lot of music being made. A lot of songs happened, a lot of travelling happened, and a lot of experience happened. It wasn't one of those where I had many songs and was making them and realised, "Oh, I'm making an album." It was one of those where I went into it knowing that I wanted to make an album.

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How did you bring this album to life and work with you in terms of collaboration?

I kept it very close regarding the production team and wanted to work with people who understood what I was trying to do. It was my homies, Jordan Mansville, Bryan Allen and Zach Simmons, that I primarily worked with. A lot of it was me honing my production skills to communicate better what I was going for on the project. So I started producing a lot more and then brought in those guys who understood what I was trying to convey. I don't know if the album would ever come out if it weren't for them.

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How long has the process been, from when you started making the first song to when you finished the album, and how long did it take to make the album?

The oldest song in the album is LEMON TRESS. I made that right before No Longer in the Suburbs came out. It's over two years old. NARCISSIT was another one that was quite old as well. And then the latest one was I MISS YOU. That was the last song I did a couple of months ago.

From putting out No Longer in The Suburbs, what would you say for yourself has been the biggest change from that project to this one?

With this album, I've taken my craft more seriously. I've delved deeper into research, explored music more, and remained more inspired. I've made a conscious effort to ensure that what I digest influences my music positively. I hope this commitment to my craft resonates with my audience.

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With this album being so personal to you, did you hesitate about being open and sharing a part of yourself that was so personal, or was it something you knew you needed in the music?

Both. I knew I needed to put it into the music, but I was very hesitant on many occasions to make that the title, and two, put out certain songs. I had to fight my team, or my team had to fight me for NARCASSIT? to come out, for example.

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Why NARCASSIT?

It flowed off the tongue so easily, like I made that song in two hours, just like the flow I was in. I loved the song so much, but just for myself, not for anyone else to hear. Then my team heard it and told me it needed to be on the album. It's funny because since the project has been out, many people have connected with it.

Canada has a rich music scene, especially R&B right now. There is so much great talent. So, what was your first introduction to music, and how did you find yourself in that scene?

A family friend of mine had a studio, and he invited me to work out of there on the weekends. This was back in high school, so he would invite me to come and make music, nothing too serious. That was my first few months on the scene, making stuff and considering putting out music. Regarding the city's influence on me, I've always been inspired by Toronto artists. I love the legends that have come before me, and I am inspired by the strength of our city's talent trail and the legacy of the artists from my city; I admire it and am inspired by it every day. We have something special over here.

What do you want people to get from this album as they listen to it?

Life isn't easy; no one's perfect, and it's okay to feel what you feel, be honest with yourself, and be present. It's good to evolve. In order to fly, you have to let the weight go.

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CREDITS

Photographer: Peter O’Sullivan @peterosullivan_

Creative Director: Zekaria Al-Bostani: @zek.snaps

Producer: Seneo Mamba @seneomwamba

Stylist: Rhys Marcus Jay @rhysmarcusjay

Styling Assistant: Lerato Marupi @itsnotlerato

Creative Assistant: Whitney sanni @its.whit_

Design: @margokatesmith & @ShalemAlone

Writer: Seneo Mwamba @seneomwamba

PR: My Blaqbook @myblaqbook @giovannamae @1gracezadi

Styling

LOOK #1

Jacket: Dickies

Shirt: Ahluwalia

Trousers: Burberry

Trainers: Converse

LOOK #2

Denim Suit: Ahluwalia

Bandana: a pledge by rmj

Boots: Timberland

LOOK #3

Sunglasses: Szãde

Jacket: Silpa Clothing

Trousers: Vintage Yard Market

Shoes: GUCCI

LOOK #4

Full Look: Skyethestudios

Jewellery: Sky The Studios

LOOK #5

Jacket: COOBA London

Shirt: Richard James

Trousers: Blue Marble

Shoes: GUCCI

Jewellery: Skyethestudios

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As you press play on Jupiter, the lead single, 'Wildflowers', welcomes you to the sonic journey across the 11 tracks that make up NAO's fourth studio album. It is a follow-up to 2021's And Then Life Was Beautiful and a sister to 2018's Saturn. Seven years later, we meet a very different NAO who is stepping into joy and embracing what it offers.

NAO's musical return was a significant moment, marked by the release of 'Wildflowers' and a series of intimate shows across Los Angeles, New York, Amsterdam, and London. These shows, including the sold-out performance at Hackney Round Chapel Church, marked her return to the stage after a 5-year absence. We had the privilege of experiencing this firsthand. Her words, 'It was really special. It was so beautiful, and I wanted to do something like a put-back show and something full of fans. For us to feel closer, for it to feel special, for all the people following my music over the years,' echoed the sentiment of her fans. This show was a testament to the deep connection NAO's music has with her fans and the transformative journey she has taken to reach this point.

Jupiter introduces a different NAO from its colourful nature to its sonic pallet, the album from start to finish. The conception of this came outside of music. Instead, it was part of the healing process she underwent after going through Myalgic Encephalomyelitis (ME), a chronic fatigue syndrome, as well as navigating motherhood and dealing with general life events which took place. Coming out of this time was what led her to Jupiter. She explains, "I was healing, and everything was getting better and better over the years. And then I found Jupiter, the planet of joy, hope, and good fortune." The planet and all it symbolised resonated with her in the space of her life and how it felt. "It feels like the right message for where I'm at right now. I've just come through this real personal struggle, and Jupiter being the planet of joy is something I've been actively working towards".

The destination of joy was one she could reach as you play through the album. The intentionality comes across as you take in the project, which is captured in her signature way of blending her style of Alternative R&B sounds with electronic tones and poppier vibes. 'The one thing that my music does is that you'll get a taste of everything that has influenced me. I'm not scared to do a dark electronic track and then jump to an Afrobeats-inspired tune or an R&B ballad.' She shares, engaging her audience with the diversity of her influences. Even within this sentiment, when it comes to shifts that took place during absence, her views on what her music sounded like and what the blueprint of what her sound was is something that she let go of to move with where she found herself to be in the fluidity of her sound and where she has arrived at right now.   

Taping into the lyrical themes and the subject matters on the album, this was something that feels like it should've come with the same ease it was delivered; however, the realities of which took a while before the album was able to take shape in what it became. NAO shares the process for the album to come together: "I remember starting to write again, and I felt better about my health; parenting had also become easier, and I had more time to be creative. I remember picking up the pen and doing some writing sessions, but it wasn't flowing." It would take a year before she got to the point of writing material she was able to connect with. Reuniting with some of her long-time collaborators, including LOXE and Stint, as the main producers of the album, she also worked with Kareem James, Dyo, Soaky, and Lauren Keen Dayyon in the writing of the album. Once she finally reached a place where the album could take shape, it unlocked another side of the artist, she explored further in the album. "This record is way more playful. When you hear songs like Happy People, Poolside, or even We All Win, they're all relatively light, quite chanty, and jovial, which I explored further in this record." When speaking to which song was the most meaningful to her on the album, there is one track which speaks to the essence of the album and perfectly sums up Jupiter: "The song that sums up the whole album quite well is 30 Something, it's an honest account of where I've been and where I am" The track 7th on the album is an autobiographical track written with Caroline Pennell and producer Stint it speaks to a shift of an old version of NAO and the new version of who she is now.  

Apart from the sonics and lyricism across the album, another defining aspect of this new era is the visual aspect of Jupiter's whole era. The use of the colour pink was intentional and has been present across all the various aspects of the project. From the music videos to the artwork and even the physical product, it was another representation of the essence of the album's meaning. "I wanted to represent Jupiter through the colour pink, just because pink is also joyful for me. It's beautiful, it's warm, it's a cuddle, it's a hug. It lifts your spirit." She shares why the colour of the album was chosen. Once again, displaying the stark contrast of Saturn, which was represented by the use of a balloon, Jupiter was symbolised via the feeling the colour of pink brought and highlighted for this project.

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The album's takeaway for the audience is a simple mission she has. "I want people to enjoy the album and for it to lift their spirits and vibrate their energy. If it does that, then I'm happy." This is something that she shares when it comes to what she expects of the project, which is none. Her experiences have allowed her to detach from music and not be so fixated on the outcome and results, something that has changed and shifted her outlook regarding her creative process and how she has been able to create this album compared to her previous work. The conversation around this stems deeper than music and comes from the lessons motherhood has taught her regarding how she views her career. "My work is what I do, not who I am. Knowing that and having that realisation has changed my outlook and my whole being, and I've been able to separate what I do from my identity."

As we gather on set to capture NAO for this cover shoot, she exudes excellent energy; throughout the day and the various looks she can transform through, joy and kindness come through in the images and throughout the set. There is a change from within that has come through in everything she has spoken to in our conversation; getting to experience her on set a few days after our conversation, NAO encapsulates her joy and brings that through. Before we wrap up our conversation, I enquired what she is looking forward to in this next chapter of her life and career, and her response rings true to all that we have spoken about and speaks true to this era of NAO. "I'm looking forward to all the things that I can't see coming, to remaining open and receiving the blessings that will come my way without trying to force anything. Hopefully, some beautiful opportunities will come from this album. I don't know where they are yet, but let's see where it takes us."

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Credits:

Photographer / Creative Director: Joe Puxley @joepuxx

Photo Assistant: Shekel Kennedy @shenellkennedy

Producer: Seneo Mwamba @SeneoMwamba

Project Manager: Zekaria Al-Bostani - @zek.snaps

Styling: Ramario Chevoy @ramariochevoy

Hairstylist: Sheree-Jourdan @x_sjourdan

Make up: Dalila Bone @dalila_mua

Nail Tech: Sasha Walters @sash.her

Art Direction: Maureen Kargbo @maureenkargbostudio

Creative Assistant: Whitney Sanni @its.whit_

Design: @margokatesmith & @ShalemAlone

BTS:  Ben @fleeting_images

Writer: Seneo Mwamba @Seneo Mwamba

Studio: Blankbox Studio @Blankboxstudio

PR: Imran Malik Publicity  @imranmalikpublicity @katerinamarka

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Styling Credits:

Look 1

Shirt, trench coat & bag from MCM

Trousers from Sydney Davies menswear

Denim boots from Kurt Geiger

Earrings & ring from lucky little blighters

Look 2

Pink sculptured jacket by jacqueline Loekito

Heels by Kurt Geiger

Earrings & bracelet by Wanni Fuga

Look 3

Jacket by wealthy boys club studio

Shirt & tie from Topshop

Leggings from lazyoaf

Heels Kurt Geiger

Earrings from ECE London

Ring from lucky little blighters

Look 4

Jumper & skirt set by Jacqueline Loekito

Heels by Kurt Geiger

Earrings by Ahkeke

Look 5

Custom hoodie & wide leg joggers by kintsu official

Heels by Kurt Geiger

Earrings by Ahkeke

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For North London’s rising neo-soul artist BaggE, music has always been a space to explore love, trust, and the complexities of human emotion. Her latest single, Can’t Be Judged, is no exception—a deeply introspective track that unpacks relationships, attraction, and the need to let go of control.

“I’ve learned so much about myself over the past year,” she shares. “This song is really about understanding that emotions are fluid, and love isn’t about possession—it’s about trust.”

Sonically, Can’t Be Judged fuses alternative R&B, neo-soul, and lo-fi textures, with BaggE’s hushed yet expressive vocals weaving effortlessly through jazz-inflected chords and deep, bass-heavy rhythms. But beyond the dreamy production, the track signals something deeper: the start of a refined, more sophisticated era in BaggE’s artistry.

In our conversation, she delves into the inspirations behind Can’t Be Judged, the influence of her British Congolese heritage, and why she sees herself filling an important gap in the UK’s alternative soul scene.

‘Can’t Be Judged’ unpacks trust and love in a world full of distractions. What sparked the idea for this track, and did writing it change your perspective on relationships?

Being a queer woman, I think I naturally have a really open mind. I also surround myself with open-minded people—many of them are also queer—so I’ve had tons of conversations with friends about open relationships, why they work for some people, and what that dynamic looks like. While it’s not for me, it got me thinking about my own relationship and how, in life, you can find yourself feeling something you don’t totally understand.

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Like, if my girlfriend ever had a small feeling for someone else, I’d have to let go of that traditional, heteronormative way of looking at it. Instead of reacting with, “This hurts, so it must be wrong,” or “What’s wrong with me for you to do this?” I’d want to step back and say, “Okay, we all have emotions, and while this might sting, I need to try to understand you.” That’s a huge thing to comprehend, right?

Oh, for sure—it’s a very existential question. Do our emotions in romantic relationships take precedence over our partners’ very human experiences? You’ve called this one of your most personal releases. How does it reflect where you’re at emotionally and artistically right now?

I’ve definitely dealt with jealousy and insecurity in relationships before, but I realized it was mostly because I was in bad situations. Once I found myself in something secure and peaceful, I didn’t feel the need to be in control of everything anymore—I could just let go. That’s been a really personal lesson for me, and honestly, one of my favorite and proudest moments.

Your sound carries the warmth of ’70s and ’80s soul but still feels fresh and current. What’s your process for blending those influences into something uniquely BaggE?

Day to day, pretty much all I listen to is ’60s-’80s soul—it’s where I feel most at home. I’m a soft girl at heart, and the lyrics from that era are so vulnerable and deep. Nowadays, a lot of lyrics can feel a bit surface-level or just full of bitterness, like hating the person they’re singing about. But back then, it was more like, “You’ve broken my heart, but I can’t live without you, so please come back.” That kind of raw emotion really speaks to me, and I think I carry that same vulnerability and honesty into my own music.

Plus, I love a groovy beat, and let’s be real—the ’70s and ’80s absolutely killed that!

Being British Congolese, do you find that your heritage seeps into your music in unexpected ways?

100%—that’s my roots. The boldness in my music, my hair, my artwork, my confidence—it all ties together. Drums and bass are a huge part of every song I make, which is deep in the roots of Congolese music. Whenever I’m working with a producer, the first thing I say is, “The bass has to be heavy and have a groove.” Same with the drums. I can’t be dealing with any tippy-tappy drums—they need to have SOUL.

This new release signals a shift in your sound and direction. What does this next era of BaggE look and feel like?

More refined, more sophisticated—just deeper as a whole. My last release was two years ago, and since then, I’ve been shaping exactly how I want BaggE to be seen and heard.

Your music exudes self-assurance and emotional depth. Has songwriting always been a space for you to figure things out, or does it come from a place of knowing?

Music is my therapy. It’s weird because I don’t sit down, listen to a beat, and think, “Okay, I’m going to write about heartbreak or the weather.” I just start writing with nothing in my head, and then boom—I’ve got a whole song. And somehow, it’s exactly what I’ve been trying to express, even if I couldn’t figure it out or put it into words before.

Your visuals have a distinct mood—effortless but intentional. What’s your approach to crafting an aesthetic that aligns with your sound?

I think being independent my whole career has given me a clear vision of my journey and how I want it to progress, especially visually. I’ve always been drawn to old-school classics, and to me, the ’70s had some of the best artwork of any era—I take a lot of inspiration from that. When I listen to my tracks, I really try to make sure the artwork embodies the feeling of the song.

"Can’t Be Judged" carries the message that love isn’t about control; it’s about trust. What do you hope listeners take away from it?

Let feelings be feelings—don’t take them as facts. Don’t let your fears spill into your relationships, whether they’re platonic or romantic. It’s also about normalizing those random, unwarranted emotions that come up. Sometimes we feel things we don’t fully understand, but instead of condemning yourself or someone else for it, allow yourself or them to just feel it.

The UK alternative soul scene is thriving right now. Who are you excited about, and how do you see yourself carving out space within it?

One person who definitely stands out to me is Sasha Keable. She’s absolutely killing it right now, and she’s been putting in the work and honing her craft for years. It’s really exciting to see someone who’s put in all that effort finally start getting the recognition they deserve.

I also feel like there’s so much more space for UK soul to take up. It feels like the UK has fallen behind compared to the US when it comes to soul, and because of that, there’s a massive gap for me to fill.

With an EP on the way, what’s the bigger vision for your music? What do you want this era to say about you as an artist?

I just want to keep creating, keep doing what I love, and prosper with it. We all know how tough it is being a musician, so one day, being able to look back and say, “Rah, I did it!” would mean everything.

I also want to create a space where people—especially queer women and people of color—can be heard. There have been times when I’ve thought, “What’s wrong with me? Why do I feel this way?” and music has been my way to learn and understand myself. For those who can’t write music, I’d love to be the person who feels the same way they do—the one who puts it into words and helps them understand why they’re feeling a certain way.

And, of course, just making people bop their heads—haha!

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An unforgettable experience awaits this June 5th – 9th, as one of the most highly anticipated annual festivals, DLT:Malta marks its glorious return to the island’s sun-soaked shores. With a brand new itinerary and confirmed performances from dancehall’s rising star Valiant, hip hop’s darling, Latto and afrobeats juggernaut Asake gracing the stage once again; it’s going to be another one for the books!

After three incredibly successful years, and due to high demand two sold-out weekends in 2024, DLT is set to head back to Malta this spring, ready to take the island by storm. Last year, DLT:Malta was marked on the calendars of nearly 10,000 people who flocked to the island paradise to make memories of a lifetime and get up close with their favourite artists. The allure of DLT:Malta is not only being within reach of global talent you’ve only seen on the internet, but with the communities built, before during and after the events. Whether it’s seeing someone in Malta that you last saw at Polo Beach in Accra, or the new friend you made who lives on a different continent than you, it’s a place where relationships begin and friendships blossom.

With the music always being a priority for the organisers, year after year the bar is raised. Last year saw performances from dancehall stars Spice, Skillibeng, and Popcaan, South African sensations Focalistic and Uncle Waffles. Nigerian rising stars Ruger and Odumodublvck delivered standout performances, while Canadian icon KAYTRANADA made a triumphant return for his second year at the festival.

Continuously cementing their ability to push the envelope and innovating along the way, 2024 was a whirlwind year for DLT, with undertaking more international events than ever before in North America, Europe, Africa, Asia AND Australia. Not only were there successful events across continents, but last year also saw the successful launch of an all-inclusive festival The Recipe at London’s Gunnersbury Park, headlined by Grammy-winner Jazmine Sullivan, marking it as her first UK performance in a decade!

Showing no signs of slowing down, this year Malta will have the pleasure of experiencing performances from, Latto, Valiant, Mariah the Scientist, Shallipopi, TXC, BNXN, and Asake. The intimate capacity this year allowing attendees the ability to experience some of the world’s biggest artists in a way they haven’t before.

Festival-goers will have the chance to fully embrace the party experience with hotel and event packages. Once again, DLT has partnered with the renowned Bora Bora Ibiza Malta hotel, creating the perfect blend of relaxation and high-energy festivities.

Days Like This, the team behind DLT:Malta, have solidified its place as a must-attend event on the global music scene, drawing thousands of fans from all around the world and 2025 will continue to see new grounds broken and incredible heights reached. With a fresh twist on past successes, the return of beloved international and homegrown talents, and plenty of surprises in store, it’s set to exceed expectations once again…

We’ll see you there?

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Zhus Jdo, born Joshua Ododionyei, isn't your typical Nigerian artist. With his signature style and explosive energy, he has quickly risen as one of the fastest-growing talents in Nigerian hip-hop. Hailing from the streets of Benin City, Zhus fuses traditional hip-akhop with an authentic local flavor. His breakout tracks "Dump on Dem" and "John Bull" have earned respect from industry heavyweights like Blaqbonez, Odomodublvck, and his childhood hero Erigga. Zhus represents a new wave in Nigerian hip-hop. In this exclusive Deeds Magazine interview, he opens up about his journey, creative process, and what he has in store for 2025!

Deeds Magazine: How exactly did you get started making music?

Zhus Jdo: It all started from listening to music at home as a child. One of my earliest memories is music being played by my uncle. My uncle had this kind of Tupac complex—he would dress up like Tupac and listen to a lot of hip-hop. He wouldn't just play current music; he took me back to the roots—Big Daddy Kane, Rakim. He'd say, "You have to understand hip-hop as a culture."

Growing up, I mixed those influences with my own life experiences, and that's what gave you tracks like "John Bull," "Dump on Dem," and "1 Work." If you listen to these tracks in-depth, you'll understand that I have knowledge of hip-hop as a culture, but I make it in a way that's authentic to someone from my city.

Deeds Magazine: Your hometown seems to have deeply influenced your sound. How has Benin City shaped your creative identity?

Zhus Jdo: Most of my music comes from personal experience, so my city has played a huge role. My environment, my people, even the air I breathe has influenced me. I came to Lagos not so long ago when I got discovered by Cake Bizness, but Benin City is where my sound was born.

Deeds Magazine: There's a distinct energy to your music that sets you apart. You describe yourself as a "god of chaos" with "deep-rooted intelligence." Where does that energy come from?

Zhus Jdo: Strangely, I've never asked myself that question. It just comes to me naturally. I'm not aware of how it happens, I just know it does.

Deeds Magazine: Your raw energy comes through in your songs. Is there any routine you follow before getting into the studio to capture that energy?

 Zhus Jdo: Strangely, I've never asked myself that question. It just comes naturally. I'm not aware of how it happens, I just know it does. That energy is who I am by default. I actually have to pretend not to be on that energy all the time because I have to move with decorum. It's not everywhere that I can truly be myself, or people will say, "Zhus, we can't take you anywhere."

Deeds Magazine: Your visual aesthetic is becoming as recognizable as your sound. How did you develop your signature style?

Zhus Jdo: The ripped singlets became my signature look. That came from an altercation back in my city where my singlet got ripped. When I came home, my sister said, "The ripped singlet still looks good on you." And I started ripping them myself, creating that signature look. For my first video, my team had a whole style planned, but I insisted on wearing my ripped singlet for "John Bull" and "Dump on Dem."

Deeds Magazine: "Dump on Dem" is still making phenomenal waves. What's the story behind that track?

Zhus Jdo: "Dump on Them" is when you come out looking fly, you say "dump on Dem." When you put a nice watch, you "dump on Dem." When people try to treat you like you don't know yourself, you "dump on Dem." It's a response to life in any situation. It was a house slang we'd say when someone was looking fly—"dump on Dem." It started as a house slang. We'd be at parties, throwing money in the air, going crazy and saying "dump on Dem." It fast became more than a song; with a real community behind it. People put it on merch themselves—I don't even have a website selling "Dump on Dem" merchandise, but fans are creating the culture on their own.

It's one of the craziest phenomena that has happened to me. I drive by Lagos and see my face on the back of buses. I'm like, "Is this me?" I asked my team, "Did anyone on put me on the back of buses?" and they say no. That was a valid confirmation I received that the streets is feeling my music this much.”Dump on Dem” is my story that I told in a freestyle, posted, got signed, and it's been happening for me since then. It's amazing.

Deeds Magazine: Several established artists like Blaqbonez and Odomodublvck have acknowledged your work. How does that recognition feel?

Zhus Jdo: It's amazing. Blaqbonez and Odomodublvck are two of the best rappers in Nigeria right now—that's just facts. I've also gotten recognition from Shalli Poppi, Dremo, Erigga, and Dan Dizzy. Erigga, who was my favourite artist growing up, II can still sing all of his songs word for word, even put a cover on my song "John Bull." The entire game has given me kudos—it's amazing.

Deeds Magazine: What advice would you give to young artists from Benin City who are looking up to you?

Zhus Jdo: Steady grinding. That's my message—steady grinding. They just need to keep doing what they're doing. If music is what they want to give their heart to, they should give their heart to it. It's all about making sure you're always putting out the best work you can. There's no blueprint to success, but you have to try every day.

Deeds Magazine: What should your fans expect from you this year?

Zhus Jdo:I already dropped a collaboration with Suki and Flexbee—people who've been supporting me from the beginning. This wasn't about business; these are artists still coming up in the game, and I wanted to put them on even though I'm still coming up myself. We just dropped "Bomb o," and it's doing well.

I've got two more singles to drop before summer, and then maybe during summer, I'll put out a project. Hip-hop isn't big in Nigeria, especially underground hip-hop, but we're building a community. Eventually people will catch up.

Deeds Magazine: How do you see the future of hip-hop in Nigeria, and what's your role in shaping it?

Zhus Jdo: Just keep doing my thing and putting out good music. That's all you can do.

Deeds Magazine: If you could collaborate with any Nigerian artists, who would be on your list?

Zhus Jdo:I'd love to work with my brother Shalli Popi. I'd also like to work with Olamide. Maybe in the future, Odomodublvck and I will collaborate. But music is complicated—sometimes we might make music together and it might never be released.

Deeds Magazine: What's one thing about you that people misunderstand?

Zhus Jdo: Some people see my energy and dismiss my intelligence, but if you listen to my music, you'll know that I'm like Kendrick Lamar if he was born in Benin City. They shouldn't underestimate my intelligence because of where I'm from. Benin City produces some of the smartest people in the world.

Deeds Magazine: What's the best advice you've received from someone in the industry?

Zhus Jdo: When I met Odomodublvck, he told me, "Zhus, everyone's saying we should do a song together, but I see you as an artist who can create a movement for himself and stand on his own two feet. So when we do collaborate, it will be a clash of giants." I took that as "continue to do what you're doing." Everyone's expecting us to do a song together, but he wants me to keep growing so that when we finally collaborate, it goes crazy.

Deeds Magazine: Final question—if you weren't making music, what path do you think your life would have taken?

Zhus Jdo: I'd be in jail. I definitely would have done something that would mess up my life. Music saved me. Music created an avenue to put my creative energy into good use.

"I'd be in jail. Music saved me," Zhus confesses at the end of our conversation. It's a powerful reminder of what drives him. As he continues to “Dump on Dem” while planning his summer project, one thing is clear: Zhus Jdo isn't just making music—he's playing his part in building a movement for Nigerian hip-hop, one chaotic, intelligent verse at a time. Zhus ethos and message to the world is: “Steady Grinding”. Keep putting in the work, and show up every day!

CREDITS

Creative Director: @deedsstudio (@xdeoye)

Photographer: @ThinkAkanni

Stylist: @TeaInChina_

BTS: @mitchefficient

Design: @deedsstudio (@shalemalone)

Journalism: @deedsstudio (@lanacreatesss)

Set assistants: @deedsstudio (@whoisolawale)

Location: @gidiup_ridingacademy

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From YouTube covers to sold-out shows at one of New York City’s legendary palaces of entertainment, the journey of acclaimed British singer-songwriter Jorja Smith has been nothing short of extraordinary. As part of her Falling or Flying Tour in North America, Jorja brought her soulful sound to the Brooklyn Paramount for two mesmerizing nights, captivating audiences with her signature blend of vulnerability and strength.

The atmosphere was electric even before she stepped on stage. A low hum of anticipation filled the room, and as soon as the pounding drums of Try Me began, the crowd erupted into cheers. Jorja’s presence was commanding yet effortless, her voice cutting through the darkness as she sang the lyrics that signified her return after a two-year hiatus. The song’s bold, declarative nature set the tone for the evening- spotlighting an artist standing in her truth, free from expectations, and fully embracing her artistry. With each song, Jorja wove a narrative of love, heartbreak, and self-discovery, taking the audience on an emotional journey. When the opening notes of Blue Lights played, a hush fell over the crowd, everyone hanging onto every word of the powerful anthem about racial profiling and social injustice. It was a reminder of Jorja’s ability to blend storytelling with activism, and the raw emotion in her delivery made it one of

the night’s most moving moments. As the night unfolded, the Brooklyn Paramount transformed into an intimate space where every person seemed to share a collective experience. Whether it was the heartache of Addicted or the wistful yearning of Where Did I Go?, each song struck a personal chord with the audience.

Feelings were particularly special, with Jorja’s male backup singer taking center stage for a stunning vocal performance, his effortless runs sending chills through the venue. The chemistry between the band and Jorja was undeniable, creating a seamless flow that made every transition feel organic. One of the standout performances of the night was Loving You as she brought out Maverick who opened for her. Before singing she shared words shedding light on his

influence in her career that has allowed for a beautiful music partnership that we get to see beautifully exhibited on stage. As she transitioned from High, she played a “guess the song” game with the audience that many guessed correctly- Teenage Fantasy. Initially starting a cappella, the opening chords accompanied Jorja’s voice, and a wave of nostalgia washed over the audience, many singing along to every word with their eyes closed, lost in the memory of youthful love and its bittersweet lessons.Jorja’s ability to balance power and subtlety was evident throughout the set.

She commands attention through her quiet confidence, soulful vocals, and understated movements were the moment. Even in the softer moments, like the heartbreaking Don’t Watch Me Cry, she allowed silence to linger, letting the weight of her words sink in before gently pulling the audience back into the warmth of her voice. As the show neared its finale, she effortlessly transitioned into some of my all-time favorite songs—Be Honest, On My Mind, and Little Things.

The moment she started singing, the energy in the crowd shifted; everyone was immersed in the rhythm, swaying and dancing. It felt like a collective party, with voices blending into the lyrics and bodies moving in sync with the beat. It felt like more than just a performance—it was a celebration, a reflection of Smith’s journey, and a moment of pure connection between artist and audience. Jorja Smith has the radiance of an artist who has not only found her voice but continues to refine it. Smith has shown us time and time again that she is her own artist, and this tour proves that she’s not just flying—she’s soaring.  With each performance, she solidifies her place as one of the most compelling voices in contemporary R&B, and if this show was any indication, she’s only just getting started.

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As leading Nigerian singer and songwriter, Joeboy, gears up for his forthcoming album, he continues to set the tone with the release of his latest track, “TAXI DRIVER” on Friday, 7th of March.

Released under Young Legend in partnership with Warner Music Africa, “TAXI DRIVER” follows the emotive Indian-influenced, Tempoe-produced “SMH” which captivated listeners earlier in the year. On “TAXI DRIVER” , Joeboy reflects on the pitfalls of a new relationship singing “Taxi Driver can you take me home/ Hate this feeling/ I’m better on my own.

The track, a blend of Afrobeats rhythms with introspective lyrics, showcases Joeboy's signature ability to craft relatable narratives within catchy melodies. "TAXI DRIVER" delves into the complexities of vulnerability and the struggle to navigate emotional uncertainty, resonating with anyone who has experienced the push and pull of a budding romance.

With “TAXI DRIVER” , Joeboy continues to showcase his abilities as an artist and businessman of international repute with limitless drive and inspiration.

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Music has always been a part of Elaine's life from a young age. At the tender age of 6, growing up in Pretoria, South Africa, she started singing and performing in a choir throughout her childhood. In addition to participating in choirs, she performed in talent shows and was entrenched in exploring her musical talent and expanding her skills. However, it was not until she reached high school that her musical journey began; at the age of 18, she started making music herself alongside Clxrity (one of the producers she worked with on her debut EP Elements) who attended the same high school as her where they would go into empty classrooms after school and would make tracks without really taking seriously.

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Having only started making music towards the end of her high school experience, the process of creating her debut EP Elements happened at the age of 19 whilst attending Wits University in Johannesburg as a law student. "I made the EP while still a student, making music part-time after classes. I had no budget, only two producers, and no resources. It was a project born out of pure passion and determination." She says the project came together between lectures, where she would travel and meet up with the two producers, Elizeé and Clxrity. Once it was complete, the three met at a McDonald's, where they uploaded the EP to a distribution site. The rest, as they say, is history. "It was honestly just God working through me, and I did not realise it would materialise into what I'd been dreaming about". That decision resulted in The EP reaching No.1 on both the iTunes and Apple Music album charts, making her the first independent female artist to do so.  She was certified Platinum by RISA, gained a nomination for Best R&B/Soul Album at the 26th South African Music Awards, and became the most streamed female artist in South Africa on both Apple Music & Spotify in 2020.

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Now, 5 years after the fact, as part of her first trip to the UK and coming off the back of her debut album, Stone Cold Heart. We meet in November on a cold, grey, particularly windy day, typical of London, where we undergo a 6-hour shoot in the essence of Elaine's R&B influences and feminity. Following the shoot, we sit down and discuss everything that has transpired following that time period, bringing her to this point in her life.

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Stone Cold Heart takes a different tone from Elements. Although still rooted in that rawness, vulnerability, and authenticity that was very much present in her first body of work, this body of work has a maturity and growth that you can see even in the way in which she sings across the album and how it plays across the 14-track album. The difference, she recognises. "I felt I had to fight to make this album. I constantly had to fight to be heard, fighting to put the project out. Fighting for my creativity to take the lead". Having entered the industry at a time that came at the heels of a global pandemic, her entrance caught global attention, as she signed a record deal with Columbia Records, for which she was the first African artist they had signed. For much of the time she was with the label, it was the peak of COVID-19, which therefore brought on several limitations as to what was possible and the expectations of what that experience would be. 

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These experiences, however, were captured during the album's creation and shaped the lyricism across the project. Throughout the project, Elaine effortlessly delivers the themes of self-empowerment, heartbreak, infidelity, romance, and emotional and powerful storytelling. The era of Stone-Cold Heart feels like one of resilience and empowerment that flows through, with everything in its representation, from the album artwork to the various visual elements and everything in between. 

Shaping and crafting the album with the people she was able to collaborate with is another way in which the album was able to stretch her creativity and expand the sonic landscapes you hear across the album—going beyond her two previous collaborators. She worked with artist Fridayy, who co-wrote 'Deja VU', a single she released before the album. As well as Beyonce & Tems collaborator GuiltyBeatz also contributed to the album with Candenza who worked on 'Know each other'. Not to mention her previous collaborator, Elizeé, who co-produced 'Broken Hearted, ' the first single of the album, which Pheel Keys and Zeke produced, how she was able to open herself not just lyrically but also sonically with her choice of collaborators is something that served her well in bringing a variety in the album whilst also maintaining a cohesiveness that flows throughout the project. Various musical inspirations that have touched her music have translated into this album and bring something different to what one might have expected from her. "My inspirations include Drake, Rihanna, Beyoncé, Tems (which makes me very excited about opening for her in South Africa on March 20th and meeting her), Wizkid, Jorja Smith, Raye, Mahalia, and Sasha Keable." 

There is a carefree nature as well as an openness that she has embodied as she moves in this current chapter of her artistic career: "It's so exciting because, for the first time in a very long time, I don't know what's about to come, but I'm excited to find out. I'm going to new places. I'm working with new people and experiencing new things." She says with a lightness. Releasing the album independently allowed her to regain some control she had let go of in the earlier part of her career, not to mention the vast, endless possibilities that exist for her as somebody somewhat reintroducing herself as an artist in the way that has evolved and grown from what people may have seen her in. 

As a South African artist who has been able to make music beyond the expectations of it being pigeonholed to Amapiano or Afrobeats, she also could showcase and show different types of musical genres that exist. "For the first time in a long time, it feels like I'm moving into many different universes. I'm enjoying the current universe because I feel free, safe, and appreciated more than anything. I'm happy and haven't felt happy in a while."  She tells me about the current space in her career. Not only is she stepping into herself musically but creatively, she is also navigating the landscape of being a business and embracing what it means to be an independent woman in today's music landscape. 

Getting this point in the context of the album is why you feel richness and openness when you listen to speak about where she is at this point in her life. The recognition of being in a different space she was when making the album, which she recognises as a low point in her life. Speaking of this, the album's title also holds weight in the meaning of the album and how it encapsulates that stage of her life. "The title Stone Cold Heart came after going through a lengthy period of finding myself and rediscovering myself and, to simply put it, just going through a lot of heartbreak." She shares it's also more about protecting one's self and heart in the very thin line between being a people person and a people pleaser.

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She has experienced this in being a part of a space where overextending yourself and being too nice of a person can get you into uncomfortable situations, and you end up compromising yourself at the expense of other people. This feeling is something that many have experienced and can relate to. "It's always something that I've always struggled with compromising myself to make other people comfortable. When that had to change, and when I felt like it had gotten to a point where I was just constantly losing, and it was just a constant losing game, it made me feel like I needed to have a stone-cold heart and to be very clear like, please don't mess with me." How she can articulate this speaks to her experience of entering the industry at 19 with a lack of knowledge of the industry and having to navigate first-hand how one handles themselves and learning from the experience of dealing with other people what works and what doesn't. Not to mention getting to grips with the other aspects of the industry that extend beyond just music and how one can get that understanding. 

Even when dealing with the realities of being a new artist and how she has navigated the personal and professional changes that have come with it, one thing is always at the centre: music, which goes beyond just something she does well and enjoys doing. "Music is my safe space. I would rather not say anything to a single soul, but I'll say what I need when I get to the studio. I'll cuss, I'll scream, I'll shout, I'll cry, I'll do whatever I want to do because, generally, that's the only place where I feel valid."  Recognising this is something she wants to work on outside of just music, being able to do so in real life, and being comfortable expressing her feelings outside of music. This expression has always been able to hold on to the safety that it provides her. "This is the one thing that I can do without questioning myself. When I'm making music, I never question myself; all I do is motivate myself, and I like the challenge of making music. It doesn't make me feel like my value is tied to something tangible; it makes me feel like my value is my gift, and I value my gift.

A couple of days before the shoot, various creatives and fans gathered to celebrate Elaine's first trip to London hosted by Nando's UK in celebration of her album launch. Present at said dinner, she navigated her way amongst the attendees, taking time to speak with everybody in a way that felt the warmth and familiarity of being amongst you feel safe and comfortable around. It was another example of the energy she exuded from navigating the changes that have taken place over the last five years. Exchanging food recommendations, gripes about the coldness of the UK weather, and speaking about food preferences back in South Africa compared to LA. The whole night and exchanges set the tone throughout the shoot and our conversation, which felt less like an interview and just two people having casual chats. This she shares with me is a stark difference between how she felt in the early days of her career and how she felt navigating that change when she first entered the public space. "I struggled so much with imposter syndrome before. I didn't want to post; I didn't want to talk about anything. There was a point where I wasn't even taking bookings; I didn't want to be seen. I was so shy." This is something that has shifted even in the way in which she is embracing and taking the reigns on her career and her creativity, with how she creates and how she can express herself without any boundaries and trusting her voice and her vision in being able to execute and say the things she wants to say.

Before we depart for the day, there is one aspect we have to touch on, and that is the visuals. For this project, Elaine underwent a 3-day shoot in which she shot 11 videos of the 14 project tracks. This was imperative in bringing the visual story of Stone Cold Heart to life. Undertaking this as an independent artist was quite the task, but for her creative eye and her ideas, she felt it was necessary to enchase the album's experience. "I wanted people to experience the project visually and see my creative ideas. I sat down and made a mood board for every song; I had the styling for every song. I worked with Thobeka Mbane and presented all the ideas I had for styling. I knew what I wanted each look to look like, and if she couldn't find them, we made them. If we didn't make them, we flew them in, and it was such an intimate but very technical process." She explained the entire pre-production, which happened over 3 months, with her gathering and finding the people working with her on the undertaking as well as shooting the videos, which sounds like an intense 2-day filming process as the first was used as a rehearsal day, from having various setups to the different looks and sets to a limited time frame and resources. 

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Each visual of the album carries a different energy. As you take in each video with the track, the inspiration for each one differs in what she was trying to capture and the energy she wanted to embody. She was very intentional in how she wanted to live the song and mirror those feelings and energy visually. "My favourite visual from this album is 'Love Me Slowly.' I loved the styling and set design—it's my favourite song on the album. The inspiration behind it was very R&B, very Rihanna—unapologetic. I was focused on finding the right references to curate the perfect set design and step into my femininity." The execution of this matched her intention for the song, which also infuses a darker tone with an edgier feel to the rest of the album. 

The process of creating the visuals has been documented and released in the form of a BTS documentary that shows how the results for her are more than just about the finished visuals and represents a more significant accomplishment in being able to carry through and see the vision through. "The whole process motivated me to be like, maybe the people don't see the vision, and maybe people don't know what I'm capable of, but I don't mind having to prove myself. But I'm not proving myself to people; I'm proving it to myself." She says with pride in the fact she did it and the belief that she has in knowing she could do it, and she did.

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The more significant undertaking of this Stone Cold Heart era is taking this beyond herself as an artist and the representation of what it means for South African music and expanding that beyond the continent. As somebody whose music speaks to a global genre, she is tapping into that and does not want to limit herself in any way. "I love my fan base in South Africa, but I see R&B as a genre that isn't confined to one space—it naturally blends into so many sounds, from Afrobeats and Amapiano to Hip-Hop, Electronic music, and even Pop. R&B already inspires and influences these genres, and I want to explore those intersections while staying true to my roots." You can already understand how she plans to do this as you take in the album. Already thinking beyond what one might have in mind when you think of an R&B artist (specifically one in South Africa), she has already expanded the expectations and limitations one might have put on her. 

With plans for international expansion well underway, Elaine has no intention of slowing down—she’s only just getting started. “My vision is to take my sound to international stages, tap into new markets, and eventually headline my own tour. More than anything, I want to reshape the narrative of African artists globally, proving that we can thrive across genres and be a driving force in the international music scene.” As she embarks on this journey, her time in London marks just the beginning of many more trips to come. Beyond music, she is determined to showcase her creative versatility and establish herself as a force to be reckoned with. “Life is so short, so I’m excited to live it to the fullest with no boundaries or chains.” With her undeniable talent and relentless drive, there is no doubt that Elaine’s rise will continue to thrive.

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CREDITS:

Photographer - Jessica Ross @jessicaelizaross

Creative Director - TJ Sawyer @tj.saw1

Producer - Seneo Mwamba @seneomwamba

Co Director - Zekaria Al-Bostani - @zek.snaps

Creative Assistant - Whitney sanni @its.whit_

MUA - Hawa Abdallah @facesbyhawa

Stylist - Jennifer Eleto @jenelectro

Stylist Assistant - Mandizole Gushu @mandizolegushu

Co-director for 3rd look - Jackie Jjacqz @byjjacqz

Movement Director - Cherise Hewitt @dripeisha__

Gaffer and Spark - Bruno Nnadi @risquesociety  & Yared Haileselassie

Design - @deeds.studio @dianeadanna

BTS - Jackie Jjacqz @byjjacqz

Writer - Seneo Mwamba @seneomwamba

Additional Styling - @its.whit_ Coat for Third look @jede.designs

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Skepta has announced the return of the Big Smoke Festival as part of this year’s South Facing, the highly anticipated multi-genre music event taking place at Crystal Palace Bowl on Saturday 9th & Sunday 10th August 2025. Following the resounding success of last year’s debut, the festival is back with another incredible lineup, handpicked by the Mercury Prize-winning artist. With performances spread across two expertly curated days, the event continues to celebrate the vibrant music cultures that Skepta champions.

Headlining the Big Smoke stage on Saturday is Skepta himself, delivering another electrifying full-scale festival performance. Phase One line up includes the likes of up-and-comer Chy Cartier and Grime Scene Saviour, Chip, ahead of his hotly anticipated LP set for release in April. Big Smoke Festival will also bring together a never seen before B2B of Grime MC FM (JME) and The Den (Frisco), two legends of the UK independent scene. Expect special guests and unforgettable performances- summer 2025 really is the summer of grime.

On Sunday, Más Tiempo will take the reins for a full takeover with Skepta stepping back on stage, this time taking to the decks. Phase One line up will follow at the end of March- expect London club favourites and pioneers of the dance scene. Following sold-out shows at Fabric, the Cause, Drumsheds, the brand continues to solidify itself as a pioneering brand of London’s music scene.

Skepta says: "Big Smoke is a festival in London, for London and I can’t wait for fans to see what we’ve got planned for this year’s edition. We continue to think of new ways to do things differently, so I’m excited to release the full line up. See you at the Bowl in August- greaze!”

Skepta, award winning MC, producer, designer, director, and founding member of seminal British grime collective Boy Better Know, unveiled his new label Más Tiempo in 2022. Firmly rooted in the values of the UK’s thriving dance music community, Skepta and Más Tiempo have elevated the house music scene to new heights. Now returning to rap, Skepta launched his new project 48 Hours and released Why Lie? featuring Flo Milli.

Saturdays General and Sunday Presale tickets go on sale Friday 7th March via www.bigsmokefest.london with payment plan options available. Fans can expect Sunday General Onsale to follow at the end of March.  

South Facing Festival

South Facing is a summer open-air festival at the iconic Crystal Palace Bowl, featuring world-class music, top-tier street food, and craft drinks. Past headliners have included Grace Jones, Damian Marley, Bombay Bicycle Club, and Noel Gallagher's High Flying Birds, plus special performances from the English National Opera. Easily accessible via Crystal Palace, Penge West, and Gipsy Hill stations, South Facing combines music, food, and culture in a legendary venue. The festival is brought to life by the world’s leading live entertainment company, Live Nation Entertainment and Soundcrash, renowned for producing some of the UK’s most celebrated live music events, including Margate Summer Series at Dreamland, Colchester Castle Summer Series, Hitchin Priory Summer Series and a whole host of incredible touring shows. https://southfacingfestival.com/

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There are countless ways to celebrate a birthday, and for Sasha Keable, selling out London's KOKO was a vibrant and unforgettable way to mark another year of life. Stepping onto the stage to a crowd of fans who had gathered on a Thursday to bask in the sensational vibes of the Colombian/London singer was a true celebration, a shared moment of joy and music.

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The vibes from when Sasha arrived on stage to when she departed were set with stunning vocals, a brilliant personality, a birthday song, lots of drinks, special guests, and just a good time from start to finish. Having never experienced her live apart from a brief appearance at a showcase, there was no way one would've missed the opportunity to witness her talent live, and of course, as expected, it was not a disappointment in the least.

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Last year, Sasha's single Hold Up, and its follow-ups, AUCTION with Destin Conrd, Take Your Time with 6lack, and WHY, reintroduced her voice to the world. With her honest lyrics, soulful vocals, and vibrant personality, the concert was a powerful reminder of her undeniable talent. And with the promise of new music on the horizon, the anticipation for what's to come is palpable.

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Opening the show with one of her throwback tunes, Treat Me Like I'm All Yours, she treated fans new and old to her collection of songs she has in her growing discography and displayed the growth that she has had as an artist over the years in which she has been making music. Not to mention previewing new material, which confirms even more music to come in the future. Only joined on stage by her band, she shared the stage with P90pope, who joined her for his verse on the WHY remix as well as Ezra Collective, who gave her a band a break and joined her to play their latest collaborative track, Body Language, together.

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Apart from the moments of singing, she also shared her gratitude for her fans and appreciation for those in attendance coming out and celebrating her birthday, with her taking multiple shots throughout the night. Her personality and chat between songs were a highlight of the night, as was the moment in which fans in the audience broke out in a serenade of Happy Birthday for her. 

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Sasha's vibrant personality radiates in her music, infusing each performance with a genuine authenticity that captivates her audience. Her powerful, soul-stirring vocals resonate deeply, while her down-to-earth charm creates an inviting atmosphere, making her feel like a familiar friend from London chasing her dreams. It’s this enchanting relatability and warmth that draws listeners in, leaving them spellbound and yearning for more.

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To say Leon Thomas is a star in the making feels like an understatement; however, after witnessing his talent on the KOKO stage as part of his MUTT Live tour, a significant milestone in his career. From the moment tickets went on sale and instantly sold out, that was enough to let you know that Leon's buzz has been highly anticipated in London.

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Coming off the back of his highly successful album of the same name, Leon’s latest offering has undoubtedly brought him to newer heights. And the show was just one piece of evidence: from the moment he came on stage to the opening track of the album HOW FAST, he showed his artistry on another level.

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Taking to the stage with only his band and a couple of his guitars, which he utilised and played throughout the show, Leon displayed his strong musicianship—playing both the eclectic guitar, which lifted the instrumentation across the album to the stage. His rock influences came through his various riffs throughout many of the tracks, with the guitar solos and jumping on the drums.

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Taking the sounds of MUTT to the stage from LUCID DREAM, FAR FETCHED, VIBES DON’T LIE, YES IT IS combined with Floetry’s Say Yes, DANCING WITH DEMONS and, of course, the title track MUTT. The setlist had the audience going from start to finish, with the only momentary blip in the show being when he brought out UK rapper Stormzy, who has been subjected to public scrutiny and backlash over his recent McDonald campaign and his lacklustre statement released a mere few hours before the show. For that brief moment, it was met with a mixed reaction from the crowd, who thought Leon might have made a questionable choice. However, moment aside, the rest of the show continued with the hype and energy that was present before then.

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Experiencing this at the highest level at KOKO, the essence of the show and Leon’s star power was really on full display and further cemented Leon’s presence in the current musical landscape. His performance, with the essence of Motown and a style that is remnant of old school Miguel, is unique and sets him apart from his counterparts. If this show was anything to go off on, he is only going to continue to rise higher and higher. 

Donald Ofik, popularly known as Prettyboy D-O is a force to be reckoned with in the Afrobeat scene. His high-energy performances, daring fashion choices, and unfiltered personality make him one of the most intriguing figures in African music. But one comparison keeps coming up—Dennis Rodman. The ever-changing, brightly colored hairstyles, the rebellious spirit, and the fearless self-expression have led many to call Prettyboy D-O the "African Rodman." But is it just a superficial resemblance, or does this comparison run deeper? Let’s explore the connections and contrasts between these two bold icons.

Dennis Rodman, known as "The Worm," was a larger-than-life presence both on and off the basketball court. His defensive prowess, relentless energy, and flamboyant personality set him apart in the NBA. With his kaleidoscopic hair colors, countless tattoos, and unapologetic attitude, Rodman challenged the status quo and thrived on controversy. This same defiant energy pulses through Prettyboy D-O. His willingness to experiment with his look, from neon hair to edgy streetwear, is an undeniable nod to Rodman’s aesthetic.

But beyond the visual similarities, does Prettyboy D-O embody Rodman’s deeper essence? Rodman’s dominance wasn’t just about style—he was a fierce competitor who left everything on the court. His work ethic and dedication made him a legend, despite his unconventional behavior. Prettyboy D-O brings that same fiery presence to the stage, but the true test will be his ability to maintain longevity in the music industry. Being a trendsetter is one thing; building a lasting career is another.

Prettyboy D-O blends Afrobeat, dancehall, and hip-hop, creating a signature sound that sets him apart. His lyrics dive into street culture, ambition, and self-expression—battles fought not on the court, but in the pursuit of artistic greatness. While Rodman disrupted the world of sports, Prettyboy D-O is carving out his own space in music, pushing boundaries.

A key distinction between the two lies in their respective fields. Rodman played in the highly scrutinized, cutthroat world of professional basketball, where every move was dissected. The music industry, while equally competitive, offers more room for personal narrative and reinvention. Prettyboy D-O has the opportunity to define his own success, to shape his own legacy, and to build a deep connection with his audience.

Ultimately, the comparison between Prettyboy D-O and Dennis Rodman is compelling, but the real question is: can Prettyboy D-O transcend the label and cement himself as a true original? His vibrant image may draw people in, but his music, consistency, and impact will determine his place in history. If he can balance style with substance, he won’t just be the "African Rodman"—he’ll be Prettyboy D-O, an icon in his own right.

The night of February 13th was an electrifying event, with a palpable sense of anticipation filling the air at The Roundhouse for the M3LO Word Tour sold-out show. This was a pivotal stop on the European world tour of the French singer, a moment of high anticipation and excitement for all present. 

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The show, a celebration of his 2024 album BDLM Vol 1, was a testament to his star quality. It was a vibrant gathering that brought together the French diaspora, united in their shared love for Tiakola's music, and brimming with energy from the first note to the last. It was a true testament to the power of music to unite and energize. 

Opening the show with T.I.A the setlist included hits from throughout his career and his latest offering. The music filled The Roundhouse from top to bottom, never stopping for a moment apart from moments when he spoke with the crowd. Joined on stage by his band and a DJ who got the crowd warmed up before he took the stage, the hour-and-a-half-long show was a strong display of his artistry and his ever-popular each that has developed outside of his home country of France.

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Various moments of the show stood out, including when he played 'Aprés Minuit, the track he is featured on the latest Wizkid album. He also played PASCOMMECA, PING PONG, MAMI WATA, and MANON B before closing the show with psychologique. Dave, who would've made it for quite a moment, was missing from the show when SPECIAL and MERIDIAN dropped. 

Overall, the show was a vibrant display of the talent Tiakola possesses and how he has continuously been able to rise as one of the biggest and most diversely popular French artists. His music, which infuses everything from hip-hop to Afrobeats to elements of R&B and other musical notes, was a testament to his diverse influences and rich artistry. 

There’s something about Col3trane that slips through the cracks of easy definition—like mercury in motion, always shifting, never still. The London-born artist Cole Basta carries a sound that bends genres at will, folding R&B’s smoky allure into hip-hop’s cadence, laced with the kind of alternative edge that keeps you guessing. From his early SoundCloud days to international stages, he’s never played by the rules, and that’s exactly what makes him magnetic.

As we sit down to talk, there’s an ease to his presence—disarming, unhurried, but undeniably sharp. He speaks like he makes music: fluid, intentional, laced with a quiet confidence. And beneath it all, there’s a deep understanding of his craft, a reverence for those who paved the way, and an urgency to carve out something entirely his own. This is Col3trane—not just an artist but an architect of feeling, a curator of soundscapes that linger long after the music stops.

Q: First, let’s start with the meaning of Hamartia. What does it mean to you personally, and how does it relate to this EP and chapter in your life?

A: The most straightforward way to describe it is that Hamartia comes from Greek tragedy—a character's fatal flaw. In Romeo and Juliet, their hamartia is their love for each other because it ultimately leads to their downfall. In modern terms, it’s your red flags—the characteristics that might lead to your detriment.

I’m still figuring it out, but memory is one thing I touch on in the EP. I have a really bad or very selective memory. I often don’t remember things people tell me I’ve done or said, which can really mess with my perception of reality.

Q: So you feel like a victim of your own memory?

A: Definitely. I tell people I have a bad memory, but then I’ll remember the most niche, irrelevant details. It’s like my memory is working against me sometimes.

Q: Collaboration is a central part of your artistic process. How do you choose who to work with, and what do you look for in a creative partner?

A: First and foremost, I have to be a fan. I have to love what you do. But beyond that, collaboration is a close, intimate process, and I don’t like it to feel transactional. I’m grateful that everyone I’ve worked with is someone I can call and have an honest conversation with.

For example, Eric the Architect—I probably spent more time with him last year than with my grandparents. That’s real. Same with Chase—I’m a fan first, and then we linked up, and his whole team is cool. It just felt natural. I have to be able to break bread with someone.

Q: Speaking of collaboration, Crocodile Tears is a gorgeous song. Walk me through how it came together.

A: I actually wrote that song before Chase was on it. I had the first verse and chorus, and I made it with my boys Alex and Rayo one especially cold night in London. I was fed up with life at that moment, and I channelled that feeling into the song.

Then, I met Chase a couple of months later. We were in the studio, played each other some music, and when I played him Crocodile Tears, he jumped on it immediately. The version you hear now is basically what happened that night. Chase is so talented—he works in a different way from me, and that’s inspiring.

Q: Let’s talk about Trane of Thought. It’s a great name. Did you spend a long time thinking about it?

A: Honestly, I don’t even remember how that name came about. My memory is proving to be my hamartia here.

Q: Your EP’s narratives feel very cinematic. Do you visualize scenes when you write? What’s your creative process?

A: I love dramatic things—movies, art, music. My process changes all the time because if it stayed the same, it would get boring. I write a lot—memories, cool phrases, voice notes, and anything meaningful. Then I go into the studio, and sometimes it works, sometimes it doesn’t.

Q: Would you say that’s how Memory Game came about as well?

A: Yeah, that one was crazy. I went into the studio, heard the sample, and the first verse and chorus just flowed out in about 10 minutes. I didn’t even write it down.

I didn’t know what the song was about at the time, but when I listened to it later, it was obvious—it was about my memory and how it affects my life. That realisation shook me because I had no idea when I wrote it.

Q: Your music blends personal stories with broader cultural themes. As an Egyptian artist, what messages do you hope listeners take from your work?

A: I love that music can be interpreted in so many ways. People will come up to me and say, “This song was the soundtrack to my relationship,” and in my head, I’m like, That’s a somber song. But it doesn’t matter what I intended—what matters is that they took something from it.

Q: What are your favourite songs from your own catalogue?

A: That’s tough. But hearing you say Malibu Sleep and Someone to Watch Over Me means a lot—those are deep cuts. Malibu Sleep is really sad, though. If you really listen to the lyrics, I was not in a good place.

Q: How do you balance staying authentic while expanding to a global audience?

A: I think because my background is so mixed—Egyptian and American, but growing up in London—it doesn’t feel like I have to try to balance it. London is such a melting pot of cultures, and I’ve always pulled from different influences.

That said, LA is an easy place to get lost in. You just need good people around you. I’m lucky to have family that will keep me grounded.

Q: What’s the last dream you remember?

A: Oh, wow. Hold on, let me check my messages—I sent this one to my friend.

Okay, so I dreamed that my friend George was throwing a party with loads of water balloons… That’s about all that made sense.

Q: That’s wild. Dreams never actually make sense, though.

A: Right? It’s always something inexplicable happening, and you’re just stuck in it.

Q: Lastly, what’s next for you?

A: Right now, it’s just me, but I want to expand Train of Thought into something bigger—maybe sign artists I believe in and help them navigate the industry. That’s one of my goals this year.

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CREDITS

Photographer - Peter O’Sullivan

@peterosullivan_

Art direction and fashion - kwamena @kwamxna

Producer - Seneo Mwamba @seneomwamba

Co Director - Co-Director: Zekaria Al-Bostani - @zek.snaps

Fashion Assistant: loly and co - @lolyndco

Makeup Artist- Maryam Sofia

@maryamsofia_

Creative Assistant - Whitney sanni @its.whit_

Writer - Thandie Sibanda @thanddd

Studio - Blankboxstudio @Blankboxstudio

*Styling Credits*

look 1: jacket - daily paper (@dailypaper), top - guess originals (@guessoriginals), bottoms - hadisa ahmad (@fa_hadisa_), footwear - clarks (@clarksoriginals)

look 2: jacket and bottoms - daily paper (@dailypaper), top - true religion (@truereligion), footwear - clarks (@clarksoriginals)

look 3: jacket - napapijri (@napapijri), top - meyba (@meybaofficial), bottoms - guess (@guess), footwear - dr martens (@drmartensofficial)

pr companies: future brand thinking (@futurebrandthinking), agency eleven (@agencyeleven), exposure (@exposurelondon), rich london (@richlondon___)

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Hailing from the storied streets of Watts, right next door to Compton, emerging rap artist Vonni Mack infuses raw energy and authentic flair into everything he does—be it music, fashion, or even combative-style fighting. Grounded by the rich history of his neighborhood, he channels the spirit of his city into a distinctive voice, cadence, and style.

Deeds Magazine: Growing up in Watts, how did the environment shape your music and artistry?
Von: Growing up in Watts, everything around you and everything that comes your way, shapes you. The spirit in the city alone provides a raw, authenticity to self. So when people ask me where I’m from, I tell them Watts – which is right next door to Compton. The dynamics of the community has influence on my message, slang, style of cadence, and wear. Watts has a rich history, and what you see ain’t always what you get, sometimes it’s more.

Deeds Magazine: As a versatile rap artist, what specific genres or styles do you explore in your music and how do they reflect your diverse background?
Von: Hip hop and rap is what I grew up on, those are the styles I explore and gravitate to the most, it’s a part of my DNA. I have a unique style that’s raw and unfiltered; chaotic, charismatic, and smooth. Every now and then, I like to switch it up to give more of a creative and authentic feel.

Deeds Magazine: You dabble with music, fashion, and combative style fighting. How do you plan to merge these three creative outlets to reflect you as an artist?
Von: I think by branding myself with these various creative outlets and making it my lifestyle – through photo shoots, music videos, and it reflecting in my lyrics. I have a brand that I’m currently working on – it’s a streetwear brand that’s inspired by combative style fighting and fashion. This is one avenue that will also be an outlet that reflects me as an artist.

Deeds Magazine: How do you envision your music evolving over time? Are there any new sounds or concepts that you’re excited to explore?
Von: I’m always exploring new sounds, anything to push the limits. I feel so versatile as an artist, that I can mold into any genre, which is what sets me apart from the rest. I’m excited for what’s to come.

Deeds Magazine: Fashion seems to be a growing passion for you. What role does it play in your overall artistic identity, and what can we expect from your fashion ventures?
Von: From the moment I wake up and walk out the door, till the moment I walk back in and go to sleep, it’s fashion. There will always be some different shit to expect from Vonni Mack just to keep the mind wondering, and keep them mf’s on they toes!

Deeds Magazine: Collaboration is key in both music and fashion. Are there any artists or fashion designers you’re particularly interested in working with in the future?
Von: Musically, I would love to work with SZA, Doechii, 03Greedo and Tru Carr! There’s more, but those four specifically. As far as fashion designers, I think David Minor is dope, Grace Wales Bonner, Everard Ev Bravado, Téla D'Amore, Rick Owens, and Helmut Lang – I could see myself partnering with all of them!

Armed with an unfiltered rap style, a flair for streetwear, and a passion for pushing creative boundaries, Vonni Mack stands ready to keep the world guessing—and on its toes. It’s safe to say we can all be excited for what’s to come.

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Temilade Openiyi, better known as Tems, is making waves beyond the music industry. The Lagos-born Grammy-winning artist has officially stepped into the world of sports by becoming a part-owner of Major League Soccer’s (MLS) San Diego FC. With this move, she becomes the first African female to hold ownership in an MLS team—a groundbreaking achievement.

Fresh off her Grammy win for Best African Music Performance with “Love Me Jeje,” Tems is taking her influence to new heights. Her company, The Leading Vibe, partnered with Pave Investments, a prominent African private investment firm known for its work with NBA Africa, to facilitate the acquisition.

Expressing her excitement, Tems shared:
"I am thrilled to join San Diego FC’s ownership group and to be part of a club that celebrates creativity, culture, and the power of community. Football has a unique way of bringing people together, and I am excited to help build something special in San Diego, a city that thrives on diversity and innovation."

San Diego FC’s Chairman, Sir Mohamed Mansour, warmly welcomed her to the team, emphasizing her global influence: "Tems is a globally significant artist who will help us reach new audiences and spread the word about our unique project, which has its foundations in sub-Saharan Africa through the Right to Dream organization."

Tems now joins an impressive lineup of partners backing San Diego FC, including actress Issa Rae, former Spanish football star Juan Mata, retired U.S. Navy SEAL Jocko Willink, and MLB All-Star Manny Machado.

This partnership highlights the growing connection between entertainment and sports, as African artists continue to expand their impact on the global stage. With San Diego FC set to make its MLS debut this month against reigning champions LA Galaxy, all eyes will be on the team—and its newest co-owner.

For more details, visit San Diego FC's official website.

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In the heart of Lagos, where the city hums with the chaos of survival and dreams, young couples navigate love in public and then at home, often in small apartments—spaces that force intimacy and also magnify every flaw. These apartments, frequently called "Face Me, I Face You" or "Mini Flats," are more than just physical structures; they are stages where the drama of modern Nigerian romance unfolds.

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Victony and Saint Jhn’s “Tiny Apartment” captures this duality, vividly depicting modern love in Nigeria, where passion and frustration coexist in a delicate dance. The song becomes a metaphor for the emotional turbulence of two people striving to hold onto something beautiful, even as the walls of their shared space seem to close in. There’s no hiding, no room for secrets or grand illusions. Love here is stripped bare, raw, and real.

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A tiny apartment is not just a physical space but a psychological and emotional arena. It is where love is nurtured and tested, and every corner tells a story. The bed, pushed against the wall to maximize space, becomes a sanctuary for whispered dreams and aches. It is where the mundane—ordering food and showing each other funny tweets—can quickly spiral into heated arguments. 

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The lyrics, “I was in my tiny apartment. It was a normal Saturday night… But then, we started fighting,” echo the reality of many young Nigerian couples. The apartment becomes a microcosm of their struggles. The fight isn’t just about the moment—it’s about unmet expectations, the fear of failure, and the longing for a love as boundless as the dreams they once shared. Love, in these moments, becomes a tightrope walk, balancing passion with frustration, intimacy with claustrophobia.

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Yet, even in the chaos, there is beauty. The tiny apartment is also a fortress, a sanctuary where two people find solace in each other’s arms. “In my tiny apartment, I loved your body often,” Saint JHN and Victony sing. In a country where the cost of living often outpaces dreams, young couples learn to be innovative with romance.

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According to Reuters, “Nigeria's inflation rate rose for the fourth straight month in December, advancing to 34.80% in annual terms (NGCPIY=ECI), opens new tab from 34.60% in November.”

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Chart showing Nigeria's economic inflation over the past 6 months.

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A power outage, lit by the glow of a rechargeable lamp, paired with sticks of Suya can turn into an impromptu date night. Love here is not about grand gestures but about the quiet, everyday acts of holding on—choosing each other, again and again, even when the world outside feels too heavy.

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Yet, love in a tiny apartment is not without its challenges. The lack of privacy can strain even the strongest bonds. Arguments over whose turn it is to buy fuel for the generator, a sink full of dishes that becomes a metaphor for neglect, or an unmade bed symbolizing disarray—all test the resilience of a relationship. Fights over trivial things—whose turn it is to take out the trash, why he never replaces the toilet paper roll, or why she left her shoes in the middle of the hallway—reveal deeper tensions.

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Robert Sommer, a pioneer in environmental psychology, conducted extensive research on personal space in a digital age. His work shows that when individuals feel crowded, they experience heightened physiological stress responses (e.g., increased cortisol levels) and are more likely to engage in aggressive or defensive behaviours.

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In these moments, couples learn the true meaning of love—not as a fairy tale but as a choice—a choice to forgive, understand, and stay.

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Love in a tiny apartment is the warmth of her body against his on a cold night, but also the sharp edge of her voice when exhaustion takes over. It’s the way he makes her laugh until her sides ache, but also the way he retreats into silence when the world becomes too overwhelming. The song’s refrain, “I don’t need all the card games, I don’t want all the heartache,” captures the weariness of modern love—a love that demands resilience in the face of constant pressure.

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Social media amplifies insecurities and comparisons; relationships are often reduced to percentages and performances. The Instagram posts, the bikini photos, the constant need to prove one’s worth—these are the card games that drain the soul. In Nigeria, societal expectations often clash with personal desires; the tiny apartment becomes a battleground for identity and autonomy. The line, “Abeg, make you no give me excess trouble, sake of I no geti excess bundle,” reflects the tension between individuality and compromise. Love in a tiny apartment is not just about two people; it’s about navigating the pressures of family, culture, and ambition. It’s about finding a way to breathe, to hold onto each other without losing oneself.

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But perhaps this is the essence of modern love—finding beauty in the chaos, holding on even when it hurts. Learning to read each other’s silences, to recognize the difference between a sigh of exhaustion and a sigh of resentment. Learning to say “I’m sorry” even when you don’t fully understand why you are fighting. Learning that love isn’t about perfection; it is about showing up, day after day, in a space that is too small for secrets but just big enough for two hearts to beat in sync.

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“Tiny Apartment” captures the essence of modern love in Nigeria and other countries—a love that thrives not despite its imperfections but because of them. As the city buzzes outside their window and the walls of their tiny apartment seem to shrink with every passing day, they hold on. because home is not just where the heart is; it’s where the heart strives.

Listen to Tiny Apartment

It’s impossible to grasp the full scope and significance of Black History Month without first understanding the historical backdrop that birthed it. The story starts in 1916, with a man called Carter G. Woodson, a historian and writer often credited with being “the father of black history.” Born in 1875, into an America that had just passed the Civil Rights Act but was still a fraught environment for the black man, Woodson grew up with firsthand knowledge of the horrors of slavery and institutionalized discrimination of black people. 

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Slavery had been abolished ten years before he was born, but its aftermath still lingered through his formative years. The scars of slavery persisted, literally and figuratively. And black people remained institutionally marginalized. Not to talk of the scourge of poverty that blighted black communities. Through all of this, he realized that perhaps the greatest transgression against the black man was America’s deliberate erasure and undermining of their history and contributions to America and the world. This precipitated his founding of The Journal of Negro History, which later gave rise to Black History Month. 

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It’s against this canvas that we consider the history of Reggae music at the Grammys, one of the most seminal moments for Black music in contemporary history. One thing to consider when contextualizing Reggae music within the breadth of Black history is that Reggae is as much a political and spiritual movement as it is a music genre. Reggae’s journey to recognition at the Grammys stage is a story of unflinching resistance against the tethers of black oppression, a story of healing from the tyranny of black oppression and consolidation of the black diaspora. It’s also an awe-inspiring tale of the slow but inevitable acknowledgment of black traditions. 

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Reggae’s story starts in the 1960s when artists like Bob Marley and Jimmy Cliff synthesized and distilled its distinctively entrancing rhythms from earlier sounds like Ska and Rocksteady. By the 1970s, helmed primarily by Bob Marley & The Wailers, Reggae would achieve global cultural acclaim. What was most distinctive about Reggae’s feverish proliferation was its singular emphasis on themes of love, peace, global harmony, and resistance in the face of tyranny. Reggae’s dovish disposition resonated globally because it functioned as a salve for the precarious political climate of the time: Martin Luther King had been assassinated just as the Civil Rights Movement was pushing for more Black American civil liberties. The Vietnam War was underway and with it a tide of global anti-American sentiments. Blacks in South Africa were fiercely resisting colonialism and segregation. Against this cacophony, the visions of serenity offered by Reggae felt especially powerful. Even today, when you play Bob Marley’s One Love or Redemption Song or No Woman, No Cry, you can still feel a visceral gust of total tranquility caress your soul. 

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Despite Reggae’s immense commercial success, as well as its cultural impacts, it would take years of pressure and clamoring, as is usually the case with things concerning Black people, before the Grammys would finally award the genre its category in 1985. By then Bob Marley, who had been the face of the genre, had been dead for four years. He’d however win several awards posthumously. This year’s award went to the soundtrack of an autobiographical musical drama film in his honor entitled Bob Marley: One Love, which features an eclectic ensemble of black artists including Wizkid, Bloody Civilian, Shenseea, Daniel Caesar, Leon Bridges, Mystic Marley and Skip Marley. In recent years, contemporary acts like Koffee and Kabaka Pyramid have won the award. Woodson, the father of black history, intended for Black History Month to be as much a celebration of black legacy, an illumination of the joys of black existence as it is a reflection of our haunting history of slavery and colonialism. And so, anytime we reflect on instances of black excellence, whether in music or sports or the arts, as we have in this retrospective of Reggae’s journey to the Grammys, we’re celebrating the true essence of Black History Month.

Timeless scenes were set as Canadian R&B maestro Dylan Sinclair returned to Islington Academy Hall, London, on February 4th for the second day of his UK/European tour.

Returning to the city which gave him his ‘favourite show’ to date, Sinclairs' eclectic set saw him perform flawless live renditions of tracks from his new album, as well as revisit the classic tracks from his first two offerings, Proverb, and No Longer in The Suburbs. Blending sounds of his various musical influences - mixtures of R&B, rap, and gospel from the 90’s and early 2000’s - with the distinctive sounds from Toronto, his home city, the JUNO award-winning artist owns a distinctive sound that blends vulnerability, soul, and nostalgia. 

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The air dense with anticipation, Jordon Manswell (manager and producer) set the tone for a night perfect for R&B lovers with his DJ set, fusing old and new R&B anthems from the likes of artists such as Usher, Summer Walker, Drake, and Brandy to make for a vibe that kept everybody standing, awaiting Sinclair and his new album live, for the first time. 

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The Filipino-Guyanese singer arrived on stage wasting no time, beginning his set with a surge of energy from the city that awaited his presence with ‘LEMON TREES’, the notable Timbaland-inspired central single from his album. Continuing with tracks from across his discography such as ‘Just Anybody’, ‘NARCISSIST?’, ‘Lifetime’, and ‘SWEET LIFE’,  Sinclair’s set was full of vibrancy, the changing colours in the atmosphere reflecting his eclectic discography and agile voice that is able to navigate a range of rhythms and sounds with ease. 

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Though the night was filled with a collective liveliness, Sinclair also stripped things back by performing gospel-tinged track ‘GOLDEN’, playing the piano himself to the thought-provoking ballad which dissects themes of identity and purpose. ‘Pleasure’ also saw him serenade a fan on stage, his voice slowed and rich with feeling. Followed with ‘IMY’ (an acronym for ‘I miss you’), the crowd was able to enjoy Sinclair’s rich vocals fused with intricate runs, adlibs, and melodies decorating the harmonious piano chords he so effortlessly played. 

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Saying goodbye after performing ‘FOREVER’, fans stood in their place, demanding ‘one more song’, and one more opportunity to share another moment with the artist, and Sinclair returned to the stage to perform ‘Home’, his hit track from 2020’s Proverb, a long-distance anthem about trust and loyalty. The standout moment saw the singer perform the track with cadence and agility, leaving the London crowd satisfied with his intimate and soul-filled performance. Accompanied by colour-changing lights, Sinclair took hold of the stage and made the night his own, reminding us once more, that R&B is in good hands indeed.

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The title speaks for itself, but what does this really mean, and how does it resonate with Central Cee’s evolution as a rapper?

On Friday, the 24th of January, Central Cee debuted his awaited album, “Can’t Rush Greatness”. An impressive collection of 17 tracks including features from the likes of 21 Savage, Lil Baby, Skepta, Dave, Lil Durk, and Young Miko. This isn't just a compilation of songs but deep and meaningful themes surrounding topics about street life, persistence, hope, love, self-dependence, and success.

So, what does the title signify? It's more than just a catchy phrase. First and foremost, to be prosperous in life, you need to trust the process and not rush the progress which resonates entirely with Central Cee's evolution as an artist. Back in 2020, for his freestyle with Kenny Allstar, he pretty much references this, rapping, “This took ages; you should have known you can't rush greatness, you're too impatient, one million views ain't famous”. This heavily relates to Central Cee’s patience, resilience, commitment to his career, and journey as a rapper. Let's admit, he most definitely raps what he preaches, a genuine connection between his experiences and artistic approach.

Central Cee’s admiration and self-discovery for music started at the age of 8 when his father introduced him to various styles of music.

Being exposed to music at such a young age indirectly foreshadowed his quest for the love of music and becoming an artist and rapper. In a revealing interview with Crack magazine in 2021, he states and revisits the memories where he explains attending studio sessions with friends dating back to 2013 which startled his passion for writing raps and creating music. In 2014, a young Central Cee in the making featured freestyling on “Fire In The Streets” for Charlie Sloth’s YouTube platform in February of that year. In 2015, on the 19th of January, he featured on the remix track “Ain’t on Nothin” with J Hus, Bonkaz, Reeko, Wholagun, Yung Reeks, Bully & Shower Malik, and Link Up TV’s #StreetHeat freestyle also in 2015. As well as featuring on a collaborative song, he delved into melodic rap in 2017 on a single named “Over You”. He hasn’t just appeared on the scene out of nowhere; Cee has an extension of records from over the last ten years, so it’s only right to name his 2025 album “Can’t Rush Greatness”.

Fast forwarding to 2020, Central Cee began to dominate the music rap scene when his two hits went viral, “Loading” and “Day in the Life”. He also showcased his Mixtape Madness: “Next Up?” performance in 2019. You can admit he has a talent for delivering and achieving various rap styles, but he undeniably isn't a newcomer as he has mentioned himself which is agreeable. Not forgetting his appearance with Kenny Allstar for Mad About Bars (2020), in 2021 and 2023, Central Cee released his first two mixtapes, “Wild West” and “23”.  You probably contemplate why he didn't strike the chance to release an album since he received a remarkable reception from his last two mixtapes. But assumably, I would only imagine he wanted to connect with his fans, perfect his skill set to the best it could be for his first album, and not rush to release music. Central Cee wanted to be thoughtful instead wanting an instant gratification with releasing an album early in his career, and when he felt it was correct to do so instead of just releasing an album for the sake of it.

This album is not just about releasing music; there is a story to hear and an understanding between the listener and the artist. Unfortunately, some artists make the mistake of rushing their progress, wanting engagement, and even potentially hindering their career by not understanding the industry, which they fail to fathom. But Central Cee has understood how this all works and that his excellence can't be rushed, which takes time and it's not all about making money since his focus was always about perserverance and consistency.

The suspense evolving "Can't Rush Greatness" has built up to what could be the most next-level album rollouts we have been waiting to see for a while, which has captured everyone's attention and this is that album.

Following an exciting 2024 with the release of his stellar two-packproject Adenuga x Concerning and an assist on “Dia Dia” by Chinese hip hop star Vinida Weng,Nigerian hitmaker, Joeboy is gearing up to shake up 2025 as well starting with his single,“SMH” set for release on February 7th, 2025. The release coincides with the first anniversary ofthe artist’s record label, Young Legend.

“SMH” sits as one of Joeboy’s most ambitious attempts yet. It samples “Neela Nilave” (a Tamilsong from the album “Mandhera Vasal”) backed by an intricate bounce and wispy production bylongtime collaborator, Tempoe (“Sip (Alcohol)”, “Don’t Call Me Back”, “Better”).

On the mid-tempo number, Joeboy enters a contemplative head space as he delivers soulfulvocals while directly addressing his love interest on the pitfalls of their relationship. Speaking onthe track, he said, “There’s a certain clarity of mind that hits you when you finally understandthat not all relationships are supposed to last forever. Some are better as phases with lessons tolearn. Simple as. Whatever seems to be missing no matter how hard you try is missing for areason.”

With “SMH”, Joeboy continues to showcase his abilities as an artist and businessman ofinternational repute with limitless drive and inspiration.

ABOUT JOEBOY

Joseph Akinwale Akinfenwa-Donus (born May 21, 1997), better known as Joeboy, is an Afropopsinger from Ogun State, Nigeria. The youngest of four children, Joeboy grew up in a religioushousehold, often quiet and reserved. Surrounded by musically inclined parents and an olderbrother, as well as the vibrant sounds of the Nigerian church, Joeboy was immersed in a richblend of musical influences from an early age.

At 18, Joeboy began creating music privately before finally gaining the confidence to share histalent with the world. His cover of Ed Sheeran’s “Shape of You” caught the attention ofAfrobeats superstar Mr. Eazi, which set the stage for his breakthrough. Joeboy quickly gainedrecognition with his hit single “Baby,” followed by a string of successful tracks, including“Beginning” and “Don’t Call Me Back” featuring Mayorkun. Since then, Joeboy has emerged asone of Africa’s top talents, making waves globally. Often called “Young Legend,” Joeboy hasamassed over 2 billion streams across major digital platforms, with his songs topping charts inover 20 countries. His discography includes over 60 songs (including collaborations), twoalbums—Somewhere Between Beauty & Magic and Body & Soul—and two EPs, Love & Lightand Body, Soul & Spirit. Some of his standout hits include “Alcohol,” “Nobody,” the remix of“Love Nwantiti” (with CKay and Kuami Eugene), “Baby,” “Beginning,” and “Celebration.”

Joeboy’s breakout hit “Alcohol” has surpassed 100 million streams on Spotify, making him the17th Afrobeats artist to reach this milestone. At 27, Joeboy has spent six years at the forefrontof the African music scene and is poised to take his career to even greater heights.

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Nigerian Afrobeats-R&B singer Tems won and secured the Best African Music Performance award with her single “Love Me JeJe.”

After obtaining her second victory in 2023 and being the first Nigerian to have two Grammys, this was a vital and monumental moment for the music genre, Afrobeats and as a solo artist.

As she approaches the stage to accept and begin her speech, she humorously starts by saying, “I do work out, but it’s not showing up right now,”.

Throughout her acceptance speech, she begins by praising God and expressing her gratitude for her team: “…Dear God, thank you so much for putting me on this stage and bringing this team…”

She does not forget to mention her Mother, whom she appreciates and acknowledges by saying, “I just want to thank you, mum. Because she has done a lot for me and my brother.” She states that this is her mother’s first time attending the Grammy Awards and would be her Mother’s birthday the following day.

Tems’ work ethic and talent has been exceptional and consistent throughout her career over the last few years. Winning the Grammy for 2025 was well deserved and earned.

In 2019, Tems first gained global success and attention with her song “Try Me,” which now has 20 million views on YouTube and later became a feature for Wizkid's song “Essence” in 2020.

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Colourism in hip-hop isn’t new. It’s been a shadow lurking in the industry for decades, sometimes subtle, sometimes blatant, but always present. As conversations around racism and discrimination become more mainstream, it’s become impossible to ignore how these biases show up in music, especially when it comes to Black women.

For years, lighter-skinned women have been pushed to the forefront of the industry, granted more opportunities, and positioned as the ‘face’ of hip-hop. They land the magazine covers, the brand deals, the prime-time slots. Even in the video vixen era, the women cast as leads in rap videos often fit a Eurocentric beauty standard.

And when a dark-skinned woman does breakthrough? She faces an uphill battle of scrutiny and double standards. Look at Megan Thee Stallion; despite her undeniable talent and work ethic, she’s constantly met with criticism that her lighter-skinned peers never experience. When Tyla, a lighter-skinned artist from South Africa, emerged on the global stage, she was immediately embraced by the mainstream with a level of adoration that darker-skinned artists rarely receive. Yes, she has her own share of critiques, but the industry’s readiness to champion her contrasts sharply with the resistance Black women with darker skin tones often face.

But as the industry globalises, as hip-hop becomes less Western-centric, and as new artists break through on their terms and with an increase in globalisation and rise in other music genres, we’re starting to see the tides shift.

Enter Doechii a powerhouse who refuses to be boxed out.

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Breaking Barriers: Doechii’s Rise to the Top

Doechii’s ascent isn’t just about making good music; it’s about dismantling the outdated ideals that have kept dark-skinned women from claiming their rightful place in hip-hop’s top ranks. She’s an artist who thrives on experimentation, blending hip-hop with alternative sounds and creating music that resonates with an audience that has long been overlooked.

Her rise is proof of just how much talent and resilience to push back against an industry that wasn’t designed to support women like her.

Historically, hip-hop has upheld the same beauty standards that dominate the wider entertainment industry. Lighter-skinned Black women have always been positioned as more ‘marketable,’ given bigger platforms, and afforded the grace to experiment without being harshly judged.

Think about the early 2000s; who were the women at the centre of hip-hop’s visual landscape? The industry leaned heavily toward women with features that aligned more with European beauty ideals. Even when dark-skinned women were included, they were often hypersexualised or relegated to background roles.

The music industry’s bias extends beyond aesthetics. Lighter-skinned female rappers, whether it’s Cardi B, Saweetie, or even Ice Spice, often experience a faster rise with significant label backing. Meanwhile, darker-skinned artists like Megan Thee Stallion and Doechii have had to prove themselves in ways their counterparts haven’t. Even legends like Lauryn Hill and Missy Elliott had to fight against these biases. Hill, despite being one of the most celebrated lyricists of all time, was never given the same level of crossover pop success that her lighter-skinned contemporaries enjoyed. Missy had to redefine hip-hop’s aesthetic to make space for herself.

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We’re becoming more familiar than ever with Black American Culture, Country Music and their proximity to each other - but the two things shouldn’t have had such distance. 5 or 10 years ago, if you were to ask your Black friends if they listen to country music the immediate response would be to look at you like you have suddenly produced a second head. But in reality, Black has always been country, and country has always been Black. Black American culture is country - from the sayings and slang, to the food we eat, and music we listen to. 

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So how did Shaboozey a Nigerian-American end up at the center of the country music conversation? Hailing from Woodbridge, Virginia - with his stage name stemming from a mispronunciation of his Nigerian name(Collins Obinna Chibueze) it actually isn’t entirely unpredictable. But what Shaboozey brings to the table is the confidence, boldness, and a voice that is here to stay in Country music. Often blending melodic verses on country beats we’re hearing something we’ve never heard before. Lil Nas X stopped the world with Old Town Road, and as world stoppers do, was met with harsh criticism and critiques however - he’s one amongst a few who’s paved the way for Black Male country artists like Shaboozey to be able to embrace their style of music. 

In 2024 Shaboozey garnered 6 Billboard Music Awards Nominations successfully winning three awards and has now for the first time in his career received Grammy nominations in five categories. Many consider his breakthrough to be when he appeared not once but twice on Beyoncé’s album ‘Cowboy Carter’ featured on tracks ‘Spaghetti’ and ‘Sweet Honey Buckin’. Since then, there’s been no shortage of nominations, accolades or accomplishments coming from this smooth soulful artist. Simple but bold, bringing you a sound that reminds you of sweet summertime when you close your eyes - Shaboozey’s tunes are offering a fresh perspective on Black artists in the country music space. His breakout hit, A Bar Song ‘Tipsy’ has gone viral on TikTok with over 1 million videos to that audio. Even if you aren’t keeping up with country, it was hard to miss. ‘Where I’ve Been Isn’t Where I’m Going’ is the title of Shaboozey’s third studio album, and we couldn’t agree more. We’re excited to see Shaboozey continue to trailblaze and contribute to the country music conversation.

The 67th Grammy Awards, held on February 2, 2025, in Los Angeles, was a celebration of music, resilience, and cultural milestones. This year’s ceremony not only honored the best in music but also highlighted the growing influence of Black and African artists, making it a historic night for representation and diversity. From Beyoncé’s long-awaited Album of the Year win to Kendrick Lamar’s dominance and the rise of new voices like Chappell Roan, Doechi and Tems, the Grammys delivered an interesting and maybe controversial night that resonated deeply with audiences worldwide.  

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Beyoncé, already the most awarded artist in Grammy history, added another historic achievement to her legacy. Her album Cowboy Carter won Album of the Year, marking her first victory in this category after four previous nominations. This win made her the first Black woman to win the top prize since Lauryn Hill in 1999 and the fourth in Grammy history.  

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Cowboy Carter, also earned Beyoncé the Best Country Album award, making her the first Black woman to win in this category. In her acceptance speech, she dedicated the award to Linda Martell, a pioneer for Black artists in country music, and emphasized the importance of breaking barriers in the industry.  However these awards were not without critique, as music fans took to twitter to express on how it was so convenient for Beyoncé to win The Album of the year just after her husband got on stage the previous year to complain about her not having won that category yet, despite having the most grammys.

Kendrick Lamar was another standout of the night, sweeping five awards, including Record of the Year and Song of the Year for his summer hit Not Like Us. The track, originally a diss aimed at Drake, became an anthem for Los Angeles, and pretty much the  West Coast.

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The 67th Grammys also celebrated the rise of new talent, with Chappell Roan winning Best New Artist. Doechii, another breakout star, won Best Rap Album for Alligator Bites Never Heal, becoming only the third woman to win in this category after Lauryn Hill and Cardi B.

As we say, Naija no dey carry last. Temilade Openiyi brought it home! With Tems winning Best African Music Performance for Love Me JeJe. She becomes the first female Nigerian to win a Grammy for a solo performance.Her win and the several nigerian and african nominations this year highlighted the ever growing influence of Afrobeats and African artists on the international stage.  The trend remains bullish!

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The Grammys also served as a platform for social causes. Host Trevor Noah opened the show with a tribute to Los Angeles, honoring those affected by the wildfires. The event raised $7 million for relief efforts, with firefighters presenting the Album of the Year award.  

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The 67th Grammy Awards will definitely be remembered despite and maybe even because of its controversies and criticism. The Grammys however remains a prestigious event that the entire creative industry and world look up to. The Grammys highlight the power of music to transcend boundaries and unite audiences worldwide, till next year, we say congratulations to all creatives that were honoured that night.

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Julian Marley, reggae royalty and son of the legendary Bob Marley, along with artist/producerAntaeus, faced off against industry giants at the 67th GRAMMY Awards in the fiercely competitiveBest Remixed Recording category. While they didn’t ultimately take home the trophy, this nomination stands as a major milestone for both Caribbean and African music genres, following theirBest Reggae Album win at last year’s 66th GRAMMY Awards.

In a David vs. Goliath moment, the winning remix was Mark Ronson’s take on Sabrina Carpenter’s“Espresso.” However, Julian Marley and Antaeus’ independently released “Jah Sees Them – Amapiano Remix” garnered significant support from Recording Academy voters. The category also featured superstar artists like Charli XCX, Shaboozey, and Doechii, alongside heavyweight remixers including David Guetta, Kaytranada, and A.G. Cook.

A dynamic blend of Julian Marley’s signature reggae and South Africa’s pulsating Amapiano, the remix was produced by Antaeus, UK producer/DJ Footsteps, and producer MrMyish, with mixing and mastering from Antaeus alongside GRAMMY-winning engineers Joe Maldonado and Alex Psaroudakis. Released by Monom Records, the indie label helmed by Antaeus and business partner Magnus Johansson, this track spotlights the power of cross-cultural collaboration. Monom Records plans to build on this innovative momentum in 2025 and beyond, offering comprehensive Artist Services for emerging talent and expanding into a new book division dedicated to music industry-related publications.

Julian Marley reflected, “The ‘Jah Sees Them’ Amapiano Remix represents my deep passion for music beyond reggae. It’s a powerful fusion that bridges cultures and genres, proving that music truly has no boundaries.”

Antaeus added, “This remix embodies our commitment to creating timeless music that resonates across generations. We’re incredibly grateful to the Recording Academy voters for supporting us on this journey in the name of music and love.”

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In a year teeming with pivotal cultural moments—Charlie XCX’s Brat campaign, the renaissance of sanguine pop heralded by Sabrina Carpenter and Chapelle Roan’s delightfully subversive spin on Pop—the feud between Kendrick Lamar and Drake stood out emphatically for its sheer scale and cultural impact. The feud started unremarkably—for all the commotion it kindled, it wouldn’t be the first time two Hip-Hop stalwarts would be clashing, at most it appeared to be a new iteration of a familiar tale. But before long the story would swivel in a different, more grave direction. Kendrick, in a display of tactical superiority, transformed the feud from an ego-driven display of machismo to a battle for the soul of Hip Hop, calling into question Drake’s blackness and casting him as an interloper within black culture. With a single brush stroke, Drake’s lot was sealed. As if to celebrate his ascendancy over Drake and the dawning of a new era forged according to his whims and philosophies, he released Not Like Us, a song as playful as it is didactic. Against the backdrop of punchy loops and a jaunty West Coast bounce, Kendrick at once pokes at existential questions about the notion of blackness and wickedly taunts Drake.

His gambits with Not Like Us have since vaulted him to surreal heights: multiple Billboard records, a culture-rallying moment in the form of a homecoming concert, he’s also billed to headline this year’s installment of the Super Bowl halftime show. Last night he extended his incredible win streak as he carted away five Grammy awards for Not Like Us, including Record of the Year, Song of the Year, Best Rap Song, and Best Rap Performance, cementing the record as the greatest diss track of a time and imbuing his already incredible run with even more momentum. Despite the pervasive celebratory air at the Grammy venue as Kendrick picked up award after award—at one point the entire hall giddily echoed his “A minor” line—online reactions have traversed the entire spectrum; from support to cynicism to outright disbelief. At the heart of this plurality of opinions is the question of whether Kendrick’s Not Like Us deserved such a resounding win. Yes, it was unarguably the song of the summer. And yes it earned incredible commercial acclaim. But isn’t the Grammy's mission to reward artistic excellence as opposed to commercial success? Tucked among the array of critiques also the aspersion that Kendrick, at this point, wins awards just off the strength of his name, a volley Drake hilariously deployed in one of his diss tracks: “Kendrick just opened his mouth, somebody give him a Grammy right now.”

So, is Not Like Us’ powerful Grammy showing well-deserved or overrated? Well, as with many other things in life, the answer is a bit convoluted. The first thing to realize, however, is that the seeming disparity between commercial acclaim and artistic brilliance is farcical; some of the best-constructed songs are club staples, just like some of the most hallowed art pieces are ubiquitous in popular culture. The second thing to take into account is that the notion of quality, at least as pertains to the Grammys, is largely context-specific. Each category has its unique criteria for artistic excellence. For example, while the best rap performance category prizes delivery, the Song of the Year award hones in on songwriting chops. Finally, Grammy winners are decided by a vast sweep of critics—13,000 of them. 

Taking these points together it becomes apparent that Kendrick deserved all five awards. His Best Music Video win was perhaps the least controversial and contested. While A$AP could make a claim for the video to Taylor Swif—a surreal social commentary where the snouts of dolphins jut of out puddles and ponies bizarrely flop around on couches—Not Like Us edges it out on account of serving as both a poignant piece of social commentary and a culture rallying moment. His Record of the Year win is pretty straightforward. The award has historically been awarded to the most culture-defining record. Did any other song bear down on and shape the culture last year as assertively as Not Like Us did? 

His win for Best Rap Song is similarly straightforward. Considering the other nominees—Carnival, Like That, Asteroids, and Yeah Glo!—it was fated to win, on account of its resounding cultural relevance and Kendrick’s sublime delivery. This directly leads to his Best Rap Performance win, which in light of his Best Rap Song win, makes total sense. His performance on Not Like Us is nothing short of masterful. He contorts his voice skillfully, vacillating between lithe intonation and forceful elocution as he delivers an operatic performance. 

This leaves his Song of the Year win, his most controversial win, which is somewhat justified given that Not Like Us departs from the stately demeanor of previous winners—for context Taylor Swift’s Cardigan and Billie Eilish’s What I Was Made For, which won last year. But before you wag fingers in an expression of outrage, you have to first consider what the award’s criteria are. It turns out that the main criterion for the award is songwriting excellence. Let’s now curtly explore Kendrick’s songwriting gambits on Not Like Us. In the record, which runs for a just bit over four minutes—he weaves a compelling and cohesive narrative that at once hammers the final nail in the coffin of his feud with Drake and functions as a poignant treatise on blackness and race dynamics in America, all the while being synthesizing the best elements of Pop and Hip-Hop into a brilliant whole. In an age where public interest and trust in award shows are increasingly on the decline, it’s easy to fall into the trap of gratuitously faulting their choices. Criticism, especially in the arts is a valid enterprise, but before you do so, pause and consider the various moving parts that add up to crowning a winner. 

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Some artists arrive on the scene to compete. Others come to take over. Qing Madi is the latter.

At just 18 years old, she has delivered a debut album that is nothing short of a masterpiece. I Am the Blueprint is a confident body of work that cements her place as a force in Afrobeats. Effortlessly weaving R&B, soul, and pop elements, Qing Madi showcases a level of polish and artistic maturity that defies expectations.

From the opening track, Bucket List, she makes a statement—this is not just an album; it’s a declaration of her uniqueness. She is 1/1, a blueprint, not a replica. Her vocals are ethereal yet commanding, her songwriting deeply personal yet very relatable.

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Qing Madi possesses a voice that lingers in your mind long after the music stops. It’s a voice that carries stories, emotions, and an undeniable presence. This is particularly evident in Ali Bomaye, where she seamlessly fuses cultural references with contemporary R&B. The title, drawn from Muhammad Ali’s legendary “Rumble in the Jungle” fight, is a fitting metaphor for the way Qing Madi’s music knocks listeners off their feet. It’s an intoxicating lover-girl anthem, blending romance with an edge of defiance.

Damn It All is the album’s emotional turning point. While much of the project celebrates love and confidence, this track flips the script. Here, Qing Madi is done playing nice, shedding the serenading for raw vulnerability as she sings about betrayal and disappointment. "Damn all the times I played Mr. Nice Guy," she declares, her voice drenched in emotion.

Then there’s Akanchawa, an already loved track that further highlights her ability to create melodies that feel both familiar and refreshingly new. The title, derived from the Igbo word meaning “good hands” or “hands that bring good things,” perfectly captures the song’s uplifting, romantic energy.

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What’s most impressive about I Am the Blueprint is its cohesion. The 13-track album is a solo effort from start to finish—no guest features, no distractions—just Qing Madi, holding the listener’s attention effortlessly. This is a bold choice for a debut, but it pays off, reinforcing her artistic strength and ability to carry an entire project on her own.

Each track flows seamlessly into the next, making the album an immersive experience rather than just a collection of songs. Whether it’s Feeling Alright maintaining the album’s groove or Ali Bomaye and Goosebumps standing out as potential classics, Qing Madi ensures there are no skips.

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While the entire album is exceptional, Goosebumps is the track. It’s the moment where everything—her voice, her songwriting, and her production choices—aligns perfectly. It’s the kind of song that should not only be a fan favorite but also a strategic highlight of her album.

Qing Madi isn’t just here to participate—she’s here to lead. I Am the Blueprint is an arrival, a bold statement that she is carving her own path in the music industry. For an artist so young to deliver an album this refined, this cohesive, and this emotionally resonant is mind-boggling. She told us she’s the blueprint and we believe her.

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A mere few hours before what was "the biggest show of my career," Kehlani announced to her followers on her Instagram stories that she had cancelled her meet-and-greet due to experiencing the worst part of a cold and not having a voice. Fears of cancellation were put out there; however, when the lights went down after 9 p.m., and she took the stage, you would never have been able to tell that she was struggling vocally.

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Despite being on the verge of cancelling the show due to her illness, Kehlani's unwavering determination shone through. It was a joint effort between her and the thousands of fans. She delivered a spellbinding performance, taking the crowd through the hits of her decade-long career.

Although it was a struggle for her, she delivered strong vocals throughout the hour-and-a-half-long set despite taking moments to blow her nose and nurse her voice. Joined by her band, a few dancers, and, for two songs, her opening act, KWN, she still was able to pull through and execute the biggest show of her career. 

Starting with Next  2 U, Groove Theory and What I Want, all from her latest album, Crash, Kehlani set the stage on fire. The album, a follow-up to 2022's Blue Water Road, brought a fresh sound and energy, all of which was palpable in the live performance. The band's phenomenal job in bringing the album's instrumentation and sonic sound to life created an electrifying atmosphere, adding to the excitement of the concert.

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Throughout the show, Kehlani shared moments of transparency and openness with her fans. She expressed her deep love and appreciation for London, a sentiment she has always expressed throughout the numerous times she has performed in the city. The setlist included a diverse range of her songs that showcased her versatility and artistry. It included hits like 'You Should Be Here' 'Toxic' 'Hate the Club' 'Open'  'everything' and 'Honey', and her recent fan favourites like her 2023 self-titled Jordan Adetunji remixed tracks. Not to mention being joined by her tour opener, known for a preview of their unreleased remix for her single 'Worst behaviour' coming on Valentine's Day.

Overall, the show was a continuation of her rise despite all the challenges and hurdles she has faced. As the European leg concludes in Manchester, she is far from slowing down.

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2025 started celebrating the Girls in Afrobeats Ambassadors of Influence Dinner. The event, which took place at EKO restaurant in London, gathered 24 women working across the UK Afrobeats scene. It was a celebration of legacy vibe, legacy, and influence, as a number of women behind the scenes in the space celebrated their achievements and contributions to the genre not just in the UK but internationally.

The dinner, hosted by Stephanie Adamu, the founder of Girls Afrobeats, sponsored by Hennesy UK, EKO Bar and Grill, and Deeds Magazine, highlighted the significant moments and achievements of the past year in the Afrobeats industry. These moments, which included the release of Amazon Prime’s Water & Garri, starring and executive produced by Tiwa Savage, and the release of Born in The Wild, the debut album by Tems, the highest charting album by a Nigerian Female artist, are just a few examples of the incredible progress and success in the industry. Ayra Starr, the most streamed female artist in Nigeria, Ghana and Kenya, is another shining example. These accomplishments are a source of pride and inspiration for all women in the Afrobeats scene.

The dinner attendees were a diverse group, each contributing to the genre's success in their own unique way. From Marketing Managers, Stylists, Tour Managers, Executives, Artists, Content creators, Strategists, Event Managers, Photographers, Radio presenters, Journalists and more, every role was represented. The primary purpose of the dinner was to shine a light on these women, to bring them together to celebrate their flowers and pay their respects to all the work they do within the genre. It was a moment to share their achievements and look forward to the coming year, fostering community and inclusivity.

Speaking about the concept of the dinner and putting it together, she said,  “I put this event together because it is 2025, and I wanted to celebrate the women that I’ve worked with connected with in Afrobeats that are doing amazing, and they don't get any recognition and I just felt that its time to shed light on you and I feel like 2025 is the time to shine the light on all the women everybody deserves their accolades and know that we are for them and we appreciate all the work they have done.” 

The sentiment and intention of the evening, filled with celebration, networking, and connection, was clear as we look forward, 2025 promises to be another fantastic year for all the Girls in Afrobeats. With the momentum and achievements of the past year, we can't help but feel hopeful and excited about the future of the genre. 

If we speak of modern rap, there is no American city that comes close to Atlanta's dominance and worldwide influence. From the Migos, Future to even 21 Savage, you name it! And Atlanta will deliver. However, what about their R&B scene? And that’s where emerging melodic singer Chase Shakur comes into play. You see, not only does he skilfully blend the likes of 90s style music with new school harmonies but also, he is without a doubt the embodiment of everything right about serenading singing in this day and age. Not to be mistaken with Brent Faiyaz from MD, Bryson Tiller based in Louisville or PARTYNEXTDOOR repping Toronto. No, Chase is evidently in his own lane. And his comfort in experimenting around with sounds and staying true to his Atlanta roots makes him stand out from the crowd. With songs such as ‘honda civic '98’’  or ‘too far close’,  and recent single ‘2ofus’ . This makes him a force to reckon with - the Atlanta's side we’ve grown to adore. Naturally, New York sets for the perfect city to start his national tour for his highly-anticipated album ‘WONDERLOVE’ and to begin his worldwide conquest.

On a chilly Friday evening in Williamsburg, Brooklyn, we sat down with the young Atlanta star to discuss his music journey and give you some exclusive gems about his upcoming album.

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First and foremost, thank you so much Chase for taking the time to talk to Deeds Magazine before your live performance. For those who still need an introduction; tell us, who is Chase Shakur?

I’m an R&B artist from Atlanta, Georgia. Eastside of the city.

What was it like growing up in Atlanta, Georgia as a youngin?

It had a lot of different flavours. I grew up in a house with a lot of women. I would say about nine people. So it was split with my mom, my aunts and my grandma. And then, my cousins and my uncles as well. So I had a lot of influence growing up from different music and different styles.

That’s almost the size of a football team! What type of music would they mostly  play in the house?

They’d play jazz, classical, blues, a lot of gospel and old school R&B (music). The men of my family would play artists in our neighbourhoods. So it would be like Gucci Mane, Rich Kidz and just artists we’re from, you know.

Would you say that the religious aspect of your environment really impacted you?

Yeah, for sure.

What role did gospel music play in your life at the time?

When I was a kid, I was in choir. I didn’t take it seriously because I didn’t want to become a singer at that age. I actually wanted to become a painter. So I feel like I was made to go to choir practice for choir. When I got to High school, I joined the choir again and taught myself how to really sing.

Do you still paint or is it something you left in the past?

Yeah I still paint now and then.

You described your previous EP almost like a brush stroke of a larger painting, where does WONDERLOVE fit in this picture? Is it the final chapter of the trilogy?

It is the start of a new one.

You previously mentioned that “X’s and O’s” and “Slide” were your go to’s. What are Your favourite songs from your upcoming album?

‘LIMERANCE’ and ‘SAYTATYOUWILL’. Those are my favourite joints right now.

Why are they your favourite songs?

I think they are really hard. They are a blend of the 90s and trap. It’s basically what I grew up on all in one song or two. It’s fire!

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Smino and TyFontaine, that’s an interesting pick. How did it come to be?

Honestly, for real, it was mad random. I was on tour with Kid Laroi and I was listening to Ty’s music non-stop. All tour rides. I was like I need him on a song. So I texted him and I was like yo, I need you on a feature and like a day later, here we are. That’s my bro! And you know Smino, that was a similar scenario. I was on tour and got the verse back. I worked on the whole album while I was on tour.

Why don’t you have too many features in your music catalogue?

Hmm… I don’t know [laughs] I might be a little bit picky with what vibe fits because not everything does.

Is there someone you would want to feature and you believe would blend well?

Andre 3000!

Oh yeah, that would be cool. If your fans were to take something away from this album, what would it be?

I want them to know that reality can be whatever they want it to be. When you fully immerse into something, you can make it anything you want, you know. I look at it (the album) like a bi-product. I lived with it so I want people to live with it. How y'all feel about it afterwards, you know what I’m saying. I appreciate it.

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Dating back to high school, Doctur Dot and Johnny Venus, also known as Olu, were always meant to make music together. Hailing from Atlanta, Georgia, the duo met on a field trip in high school and shared an appreciation of music, consisting of various genres of music they listened to. EARTHGANG was formed and since then have accumulated a community of fans that span across the world; from their debut EP, The Better Party, to their latest offering, Perfect Fantasy, the two have been able to expand their creativity beyond what you would expect from two high school students from Atlanta Georgia. 

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Their creativity has always spanned outside of music and even within their various artistic pursuits, whether it be as the duo as part of Spillage Village, the collective they formed alongside JID, Hollywood JB, JordxnBryant, 6lack, Mereba, and Benji. One thing is always apparent when you think of EARTHGANG: peak creativity—creating concepts and universes that encapsulate a whole era or moment in time. They are not scared of taking inspiration from whatever format they come across, whether it be TV shows, comics, animes or other media formats; their interpretation has always been evident from the sounds of their music to the look of the visuals and everything in between.

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Perfect Fantasy is a clear example of this. The album has been in the works since 2020 and has been coming for a long time. Speaking about the process, Doc noted it's been all about going with the flow and being in a full creative space. "We've been working on this for a while. We started in 2020 and have been working on it throughout the last couple of projects. We just made music. We didn't have an album in mind, but we had just been going with the flow, making whatever came to our heart, whatever came to mind." The release follows RIP Human Art and Robophobia, combining the two EPs and some additional tracks to conclude the concept that has been building throughout the projects of the album that were all a part of a more significant conversation, which is present as you take in the music.

The album's themes very much tie into the concept for the  EARTHGANG vs the Algorithm campaign. This campaign is a unique exploration of the impact of recent technological advances on society. It was very much relevant at the time of creation and came through during the creative process. Olu shares, "A lot of it was technology-based. It was this learning curve that the whole world is having with AI and with all these different ways of thinking. We're in a particularly unique space because we're in a space where we have seen a lot of significant changes. We know that major change happens whenever we see a new technological advancement, but this is when we are just not sure what the change will be, so we are just living with this change in real time. And that influenced our whole concept for the EARTHGANG versus The Algorithm campaign.".

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We touch further on this as we examine the different concepts and themes that currently exist and potentially a source of whatever may be presented in the future. The concept of tapping into one's consciousness and storing it is where we end up in terms of the most interesting concepts currently existing at the moment the two touch on. "The most interesting concept for now is uploading your consciousness to some hard drive, device, or cloud. The idea of uploading consciousness and possibly downloading the consciousness as a form of potential immortality. The possibility of putting your consciousness somewhere else, just for later and saving it outside of your body." Tapping into new and different concepts in the realm of creativity is nothing new for the duo. Sourcing their creativity has always come from several sources they share. "We're constant consumers of creativity. Whether we're watching series, anime movies, reading comics, or other media, they inspire us to continue telling stories in the best way possible."

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Musically, the two have never been limited when it comes to how they have been able to blend and incorporate different styles of music that pair together with their lyricism and melodic rhymes. Perfect Fantasy alone sees them collaborating with Little Dragon,  Benji, Tommy Newton and Cocishe, all bringing something to the project that adds to the album's sonic landscape. This sonic landscape is a rich tapestry of hip-hop, R&B, soul, and electronic elements, creating a unique and diverse listening experience. This is unsurprising of the two who, from their earlier musical beginnings, have both had a broad range of musical influences that have always been apparent across their music. "When we first started making music, we would listen to anything and everything. One day, it would be Kanye West 808s and heartbreaks. The next would be Arctic Monkeys, and then it would be Lil Wayne. We didn't care as long as it was jamming." Never one to the same thing twice, one thing they have been able to do in their album decade-career is to diversify their sound to make them stand out amongst their peers. 

Outside of music, one thing the two have been able to achieve quite effortlessly is their ability to cultivate a community that has spanned worldwide. Their fanbase has always been heavily involved in anything they have to offer. Their extension beyond just EARTHGANG  is a testament to what that loyalty and support has been like for them and what they have created with their fans worldwide. "We always connect with people who aren't from where we are and find a way to make community anywhere we go. Whether it be in South Africa, Japan, New Zealand, or Chicago, it doesn't matter. Authenticity and who you are will always bring you to the right people and the music afterwards. Everybody has their sound, which we pull from to create our vibe." As they embark on their European show, which they are currently going through, they have perfectly crafted a live show that will bring together the life of Perfect Fantasy on stage and encapsulate the album's energy on stage. The European show will feature a mix of their classic hits and tracks from Perfect Fantasy, all brought to life with their signature high-energy performance and innovative stage design. As for what to expect, it won't be a disappointment.

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Considering everything that has taken place throughout their career and the course it has talent them on, there is something to be said about their relationship and friendship, which, when you see it in action, is clearly one that has strengthened and grown over time. This is evident on set as we capture them both throughout the afternoon. Against the backdrop of the music and vibe of everyone, which made for an atmosphere where we were able to capture the two of them and as well as individually in a way that we were able to see both their personalities there is something that they both bring to the table in what makes up EARTHGANG. Interrogating this, I'm intrigued to know what they have learned from each other while in the group. "I have learned from him how to make it as business as possible. I still have my way of doing it. However, you must break down the business aspect and focus on the job and the task. Initially, when I approach, I do it like I  play any other game-  a little bit here but a little bit there- just because I enjoy it. With Olu, he is naturally good at picking up on tasks. So, the task management skill is fire, and the better I get at it, the better I produce for myself." Doc speaks of Olu, and when asked of Doc, Olu says, "I like how I was trying to have fun through music, through and through the business for me, let me handle business, and then I'm gonna close my books and clock out the office, and then I'm gonna have fun. But he's like, nah, let's do cartwheels in the office too. We could do that, too. It's important to say just about the trajectory of ideation and thinking."

The next chapter of EARTHGANG  is around the corner regarding where they go. With everything they achieved in this era and what the next era looks like, there is no doubt that the next evolution of EARTHGANG  is very much on the horizon, with everything that has been in their creative sphere and how they have continuously evolved. Although a Perfect Fantasy, it is the most open and straightforward body of work they have put together. The next chapter is also one that is all about reaping and repeating the rewards of the plants they have sowed with every aspect of their career thus far. Enjoyment is centred on what is next. "This next chapter is called Enjoyment, about doing what we love and enjoying the fruits of our labour and the fruits of the spirit. That's it." Olu tells me as we conclude the conversation. As we are at the beginning of a new year, many opportunities lie ahead for the duo. Having seen everything they have been able to do, there is no doubt that they have no signs of continuing the next Pokemon evolution of the EARTHGANG story. 

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If you bumped into Odunsi (The Engine) on his way back from a record store, chances are you’d find his tote bag filled with Afrobeats, two-step soul, and R&B records. These genres are not just his influences but also his canvas. As a producer and performing artist, Odunsi expertly weaves nostalgic samples into his music, creating a sonic bridge between past and present. By revisiting iconic tracks, he pays homage to his predecessors while redefining their legacy for a new generation. Let’s take a closer look at how sampling shapes some of his recent works.

Reinterpreting ‘Amorawa’ in ‘Back in Office’

Back in Office, a standout track from his project Nigerian Boyfriend opens with glittering instrumentals that invoke an almost ethereal ecstasy. The groove deepens when the drums kick in, compelling listeners to sway along. But the true magic lies in the chorus. Fans of Wande Coal and Burna Boy will immediately recognize the hook: “Jẹ n r'ọủọ ẹ loke”—a line borrowed from their evergreen track Amorawa. Odunsi reimagines it, transforming the original’s jubilant energy into something intimate and fluid. By layering his vocals over this familiar lyric, he both nods to his influences and reclaims the phrase within his own aesthetic.

Blending Eras in ‘Crazy Sexy Perfect Girls’

On Crazy Sexy Perfect Girls from his Leather Park album, Odunsi continues his exploration of sampling by channelling early 2000s R&B. The track opens with a vibe reminiscent of Pharrell’s Frontin’ and Sean Paul’s I’m Still in Love with You. Just as listeners settle into this nostalgic groove, Odunsi introduces Wizkid’s Don’t Dull bounce during Bella Shmurda’s verse. The unexpected fusion of genres and eras feels effortless, showcasing Odunsi’s ability to repurpose familiar sounds in ways that feel both innovative and cohesive. The collaboration—an unexpected but perfect pairing—reiterates his knack for curating moments of musical surprise.

Flipping Collateral Damage in Chanel

Another prime example of Odunsi’s sampling prowess is Chanel, the follow-up to Crazy Sexy Perfect Girls on Leather Park. The track borrows its melody from the intro of Burna Boy’s Collateral Damage, a standout record on the African Giant album. While Burna’s original delivers a defiant, fist-pumping anthem, Odunsi flips the script. On Chanel, the sampled melody is softened and paired with vibrant, party-ready instrumentation reminiscent of P-Square’s Do Me era. The result is a track that feels like a throwback to a 2011 house party, offering listeners a playful counterpart to Burna’s politically charged narrative.

Throughout his career, Odunsi has faced criticism for his relentless experimentation, but as he explained in a recent interview with the Leather Park Collective, such criticism has only fuelled his creativity. The Engine’s subsequent projects have emphasized his dedication to studying past compositions and invoking new emotions through derivative works. Each project is a testament to the power of sampling as a tool for storytelling, bridging generations and genres.

Odunsi’s ability to curate, reinterpret, and transform samples has cemented his reputation as a trailblazer in Afropop and beyond. His artistry—rooted in a deep respect for musical history—creates a space where nostalgia meets innovation. For his 337,000 Spotify listeners and countless others, The Engine’s work is not just music; it’s a celebration of the past and a vision for the future.

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In our recent interview with Micle, the rising Afrobeats star behind the breakout hit "Ave Maria," he described the surreal feeling of debuting at #50 on the Billboard U.S. Afrobeats Songs Chart. Micle opened up about the unexpected inspiration for the track, born from a neighbor's ringtone, and how he crafted its unique blend of soulful melodies and infectious Afrobeats rhythms.

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With his Nigerian heritage deeply woven into his music, Micle emphasizes the importance of creating authentic sounds that resonate globally while showcasing African culture and creativity. Micle sees himself as part of the larger narrative of Afrobeats, a genre celebrating African heritage on the world stage. He aims to inspire and unite through music that uplifts and bridges cultural divides. 

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Deeds: Congratulations on Ave Maria debuting at #50 on the Billboard U.S. Afrobeats Songs Chart! How does it feel to have your first entry on such a prestigious chart? 

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Micle:  Honestly, this moment feels surreal. A few months ago, something like this felt like a distant dream. I've always poured my heart and passion into my music, but seeing it reach this kind of recognition is overwhelming. 

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Deeds: Ave Maria is such a captivating song. Can you walk us through the creative process behind it? 

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Micle: Recording and producing the track involves making decisions about how to best capture the performance, which can greatly influence the final feel of the piece.
Basically it was on a Sunday evening my guy and I Were Working on a beat but Short in lyrics while thinking, our neighbor next door handset rang and all we could hear was the old general Ave Maria catholic song and without wasting time we clicked in the idea and boom the captivating song was created.. 

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Deeds: The blend of soulful melodies and rhythmic Afrobeats in the song feels unique. How did you approach balancing those elements? 

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Micle: Thank you! Balancing soulful melodies with rhythmic Afrobeats was all about finding a harmonious intersection where both genres could shine. I focused on retaining the emotional depth of the melodies while integrating the infectious groove of Afrobeats. 

Deeds: Afrobeats continues to dominate the global music scene. What does it mean to you to be part of this movement, especially as a rising star? 

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Micle: Being part of the Afrobeats movement is incredibly inspiring and empowering as a rising star. It represents a rich tapestry of culture, creativity, and global connection that resonates with audiences everywhere. Contributing to this genre allows me to showcase my roots, share stories that matter, and connect with fans from diverse backgrounds. It's not just about music; it's about being part of a larger narrative that celebrates African heritage and innovation on a global scale. 

Deeds: How important is it for you to stay connected to your Nigerian roots while making music that appeals to a global audience? 

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Micle: Staying connected to my Nigerian roots is incredibly important to me; it enriches my music and gives it authenticity while allowing me to share my culture with a global audience. By blending traditional influences with contemporary sounds, I can create a unique fusion that resonates across diverse listeners, celebrating my heritage while inviting others to experience and appreciate it. 

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Deeds: Ave Maria marks a major milestone in your career. Looking back, what were some of the challenges you faced on your journey to this moment? 

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Micle: Reflecting on my journey to this milestone with Ave Maria, I faced several challenges, including navigating the competitive landscape of the industry, balancing creative vision with practical constraints, and overcoming self-doubt during critical moments. Each obstacle taught me resilience and adaptability, ultimately shaping my artistic voice and commitment to my work. These experiences not only strengthened my craft but also deepened my appreciation for the collaborative efforts that brought this project to life. 

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Deeds: What do you hope to achieve as an artist in the Afrobeats space, and how do you want your music to impact people? 

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Micle: As an artist in the Afrobeats space, I hope to achieve a fusion of vibrant sounds that not only celebrates our rich cultural heritage but also resonates globally, bridging gaps between communities. I aim for my music to uplift, inspire, and evoke joy, creating a sense of unity and connection among listeners. Ultimately, I want my songs to be a source of empowerment, encouraging people to embrace their identity and find strength in their stories. 

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Deeds: If you weren’t doing music, what do you think you’d be doing right now? 

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Micle: If I weren't doing music, I imagine I'd probably be exploring my passion into Architectural developments, studied Architecture in school though,
perhaps working in writing or film, using my creativity to connect with people in a different way. 

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Deeds: Describe Ave Maria in three words.

Micle: Heavenly, serene, timeless. 

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One week into the new year, Moonchild Sanelly kicks things off with a bang. Her brand new studio album, Full Moon, is the latest offering from the South African songstress. The album, a testament to her artistic evolution, follows 2022 Phases and offers an eclectic range of sounds and vibes from Moonchild.

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The album spans 12 and is an upbeat collection of tracks that bring her unique sounds and show her creativity the best way she knows how. Kicking things off with the lead single 'Scrambled Eggs', which introduced us to this new era in its upbeat and infectious way, sets the tone for the rest of the album. The album is a delightful mix of sounds, effortlessly delivering a range of genres while still bringing the signature Moonchild energy that is very present from start to finish. 

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Once again, Moonchild Sanelly's unique style shines through in her new album, Full Moon. From her iconic blue hair to her playful lyrics and infectious beats, she delivers a collection that's hard not to bounce along to. The album is a powerful celebration of self-acceptance and forgiveness, delivered with a carefree nature that's impossible to miss. Sanelly bravely shares her vulnerabilities and experiences, while also celebrating herself, her body, and her sexuality. She opens up about her fears and struggles, creating a deeply personal and relatable album.

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Across Big Booty, To Kill A Single Girl (Tequila), Falling, Boom, and Mntanami, she shows the extent and depth of range she holds as an artist. Never one has been able to put herself in a box or confine herself to any specific general Moonchild, which again shows why she is one of one and will always stay in her lane. The album is an eclectic pick and mix of everything from amapiano, club dance beats, electronic, hip-hop, kwaito, and pop, all of which she is able to throw together in a way that makes sense for her.

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The listening experience will have had you bumping along from start to finish. No doubt this alum will be able to translate live when she embarks on her upcoming UK tour in March—known for putting on a highly energetic display when it comes to her live shows. She has been on stages worldwide, so that arena is one where she will be able to give a stellar show and really bring the album to life. 

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Scumie, a dynamic force in South African hip-hop, began her journey as a producer for underground artists in 2019. Inspired by the storytelling essence of kwaito music and her own mental health journey, she transitioned into rapping, aiming to merge life's raw experiences with lyrical artistry.

For Scumie, evolution in music is about embracing change and mastering the art of letting go. Her EP African Rockstar reflects this playful yet introspective approach. While hip-hop's competitive edge can sometimes feel monotonous, she continues to find creative ways to balance traditional rap with innovation.

A bold advocate for independence, Scumie aspires to be a trailblazer for aspiring female artists, encouraging them to build their own empires rather than conforming to existing structures. She values authenticity, leading with her heart to inspire art that resonates with her fanbase.

Deeds: Can you tell us about your introduction to hip-hop? What inspired you to pursue this genre, especially as a South African female artist?

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Scumie: My introduction into hip hop was being a producer, I used to produce for underground artists back in 2019. What inspired me to pursue this genre as an artist was my mental health, the ability to tell life experiences through raps was what inspired me.

Deeds: Growing up in South Africa, what artists or movements influenced your sound and style?

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Scumie: Spikiri and Zola 7 are my inspirations, when i was 10 my mother gave me her ipod and it was filled with kwaito music, it's the storytelling and motivating lyrics in kwaito that captivated me. 

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Deeds: How has your music evolved since you first started?

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The evolution is the change in composition. I've been mastering the art of letting go. I was having fun with African Rockstar. Due to the serious competitive nature in hip hop, I was getting bored. I kinda don't like to spit 16-32 bars of raps everyday, it's boring but i still like to do it just not all the time.

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Deeds: What challenges have you faced as a female rapper in South Africa’s hip-hop scene, and how have you overcome them?

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Scumie: I don't face challenges, I learn lessons. And the lesson I learnt in the SA hip hop scene is, observe, do it alone then help will come after. 

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Deeds: Female representation in South African hip-hop is growing. How do you see your role in shaping the culture and inspiring other women?

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Scumie: I want to be SA’s female hiphop rapper turned mogul. I want to create a universe and adventures for my supporters. I want to show aspiring female artists that they can operate their own empires instead of trying to be part of an established one. It's okay to do it alone because help will come with the money.

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Deeds: How do you balance authenticity with the pressure to conform to industry standards?

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Scumie: I don't like to conform. I am grateful to have a fanbase that hates conformity. so I get to be and do whatever I want and people will still love it. Leading with heart ends up leading in the art. 

Deeds: What’s your creative process like? Do you start with beats, lyrics, or a concept?

Scumie: I make the beat first, then I come up with the concept, then the lyrics tie the concept together.

Deeds: You’ve collaborated with several artists. Which collaborations have stood out for you, and why?

Scumie: Uncle Waffles and Usimamane. They are really two beautiful souls. They understand this music thing deeper than a random person on the street would. They are refreshing to work with.

Deeds: What’s your take on the current state of South African hip-hop? Are there specific trends or movements that excite you?

Scumie: The current state of sa hiphop is stable. There is a movement happening. its beautiful to see. The qwellers movement excites me the most, it's beautiful seeing friends finally live the life they’ve been striving for.
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Deeds: How do you think South African hip-hop can gain more recognition globally?

Scumie: SA hiphop can gain global recognition by showcasing the south african culture. My manager always says that amapiano is the new hip hop for foreigners, because they are not used to the amapiano sound which can definitely take SA hip hop globally. it still raps just on a different beat. 

Deeds: Outside of music, what inspires you?

Scumie: Outside music, life definitely inspires me. Life is really crazy man, anything and everything can happen. Good and Bad. Chilling in nature inspires me, partying inspires me as well as human conversations inspire me too.

Deeds: How do you stay grounded and creative amidst the demands of the industry?

Scumie: Staying grounded is just about trusting myself. I always trust myself. I trust my craft which helps me become humble. I don't need to prove anything. Even with all the money that’s there, being humble really goes a long way. 

Deeds: How do you approach storytelling in your music, and what message do you hope your fans take away?

Scumie: Storytelling is talking about life experience and my fans find solace in the relatability from the music. Speaking, rapping and singing about current world events is enough for the listeners. There are many messages I put in my songs, it's just about how the listeners interpret it. 

Deeds: Have you experienced gender-based challenges in the industry, and how do you address them in your music?

Scumie: The only gender based challenge I have faced in the SA hip hop industry is having to do more than my male counterparts in order for me to even be considered. Trust I have done more in a span of 4 years which takes males 10 years to finally achieve yet I still have to prove myself further.

Deeds: What advice would you give to young South African women looking to break into hip-hop?

Scumie: If you want to be a female rapper in SA, be unapologetic, be bold and do not let anyone take you for a fool, and be really strict with your time. 

Deeds: How important is social media for connecting with your fans and promoting your music?

Scumie: Social media is very important for music promotion. Social media is the new news anchor and news paper. Everyone is catching up on social media. It can help an artist leverage their brand and music.

Deeds: Do you feel your online persona matches who you are as an artist?

Scumie: yes my online, artist and personal persona matches. I am very low-key and it shows on my social media if you look hard enough, as well as my art. I tend to hold back a lot of music, and my male counterparts hate that haha, they wish i was “out there” more. 

Deeds: Are there any upcoming projects, albums, or singles fans should look out for?

Scumie: In 2025 I will be rolling out the third sequel of my debut album 066 VOL 3 from January. 

Deeds: Where do you see Scumie in the next five years? What legacy do you want to leave in South African hip-hop?

Scumie: I see Scumie as a female hiphop artist to rap mogul. I want to show people that it’s lit to be an african rockstar.

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Slipknot unleashed an unforgettable performance at the 02 Arena in London, UK leaving the crowd in awe of their signature blend of chaos and artistry. The band, celebrating their 25th anniversary, known for their theatrical stage presence and blistering sound, proved once again why they remain icons of the metal scene.

The concert kicked off with “People = Sh*t,” setting an electrifying tone that only intensified with hits like “Duality” and “Before I Forget.” The nine-piece band commanded the stage with their ferocious energy, fueled by Corey Taylor’s guttural vocals and the thunderous drumming of Jay Weinberg.

Fans were treated to a jaw-dropping spectacle, complete with pyro, eerie masks, and spine-tingling visuals. Mid-set, Taylor addressed the crowd, expressing gratitude for the unwavering support of the Slipknot family, sparking deafening cheers from the audience.

The night concluded with the anthem “Surfacing,” a perfect finale to a show that felt like a cathartic release for both the band and their fans. Slipknot’s relentless energy and raw passion reaffirmed their legendary status in metal.

If you missed this show, prepare for serious FOMO. Slipknot’s concerts are more than just live performances—they’re an immersive experience every metalhead should witness.

Odunsi (The Engine), born Bowofoluwa Olufisayo Odunsi on June 7, 1996, in Lagos, Nigeria, has been a pivotal figure in the evolution of the Nigerian alté music scene. His innovative fusion of Afrobeats, R&B, and hip hop has garnered both critical acclaim and a dedicated fanbase. Beyond his musical releases, Odunsi has been active in engaging with his audience through social media, sharing insights into his creative process and personal reflections.

This December, on the 20th, Odunsi added another milestone to his career by releasing the first deluxe version of his album, Leather Park, titled Leather Park 1.5. The already standout album, featuring hits like Nigerian Boyfriend, now boasts a second disc with three new tracks that further showcase Odunsi’s creative brilliance.

As the year draws to a close, Odunsi is set to reunite with his roots by headlining his show in Ikeja, Lagos, on Christmas eve, titled YOU ARE NOT ALONE. This performance is not just a homecoming but also a celebration of his journey and growth as an artist.

In this exclusive interview with Deeds Magazine, Odunsi reveals his experiences throughout 2024, discussing personal revelations, the intricacies of his creative process, and his aspirations for the future. His reflections offer a deeper understanding of the man behind the music and his unwavering dedication to his craft—striving to be the greatest to ever do it!

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Deeds Magazine: How has 2024 been for you?

Odunsi (The Engine): It’s been very revealing.

Deeds Magazine: Mmm, in what sense?

Odunsi (The Engine): In the sense that I’ve spent more time actually rediscovering myself compared to any other time in my life, well, consciously.

Deeds Magazine: Is that through music or just personally?

Odunsi (The Engine): Yeah, man. The music is always personal, so everything.

Deeds Magazine: What would you say are the key things you’ve learned about yourself?

Odunsi (The Engine): Man, it’s extremely… I feel ashamed of being, like, popular, kind of.

Deeds Magazine: Being popular makes you anxious?

Odunsi (The Engine): No, I feel ashamed.

Deeds Magazine: Ashamed, why?

Odunsi (The Engine): Oh no.

Deeds Magazine: I mean, if you go back and listen to some songs, I think your publicity is very well deserved, if you ask me. And I don’t just mean the songs, I mean your rollout, just being an artist and branding as a whole.

Odunsi (The Engine): Yeah, it definitely has a shameful side to it, for sure.

Deeds Magazine: Can you go into detail about that?

Odunsi (The Engine): I’d love to, but I don’t even know if I have the understanding of it to do that.

Deeds Magazine: Mmm, something you’re still processing?

Odunsi (The Engine): Yeah.

Deeds Magazine: I saw on your Twitter earlier, you said by 2025, you’ll try liking people who like you. Can you tell us what that means? Beyond the surface value, I mean.

Odunsi (The Engine): You know, it’s more like advice.

Deeds Magazine: Advice for just your followers or…?

Odunsi (The Engine): Yeah, just anyone out there. I know that’s something people struggle with. We always like things that don’t like us or want things that don’t want us. It’s just human nature.

Deeds Magazine: Yeah, I think it has a lot to do with people’s upbringing or maybe just psychology. Why do we struggle with wanting what we don’t have?

Odunsi (The Engine): Exactly, because we already have what we need.

Deeds Magazine: That’s deep.

Odunsi (The Engine): It’s part of some of the taboos we really enjoy.

Deeds Magazine: Let’s go into the music. Odunsi (The Engine) has always been someone who creates music without following traditional boundaries, while staying connected to Nigerian roots. Like the 5% rule—if you want to come up with something innovative yet familiar, you just change 5% of a particular idea. How do you approach making music with that in mind?

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Odunsi (The Engine): I don’t know if I analyze it that way. I like to imagine it’s the result of everything I’ve experienced. I’m a big fan of Nigerian music and music in general. I’ve listened to so much, and I have a very large pool of influences. Most people who grew up the way I did probably have a similar approach to making music.

Deeds Magazine: What kind of sounds and genres were you exposed to growing up?

Odunsi (The Engine): A lot, and at a really young age. I was lucky to have that kind of access.

Deeds Magazine: Who exposed you to that? Parents, siblings?

Odunsi (The Engine): My older brother.

Deeds Magazine: He’s was much older and had already digested a variety of music?

Odunsi (The Engine): Yeah.

Deeds Magazine: For many people, the first introduction to Odunsi (The Engine) was in secondary school, SS1 or SS2, with songs like Young Stuff. What challenges or triumphs have shaped your path as an artist in the industry?

Odunsi (The Engine): It wasn’t really a challenge or transition because it always felt the same. Music and media tell stories, and back then, the story was told through a collective lens. Now, it’s developed into different individual stories.

Deeds Magazine: Let’s talk about visuals and aesthetics. Your recent rollout for Nigerian Boyfriend included a birthday cake and office-themed visuals. How important is visual storytelling to you?

Odunsi (The Engine): It could be anything, honestly. I don’t have a rigid perspective. Sometimes I have the image first, sometimes the music. Both are equally important.

Deeds Magazine: Can you walk me through the creative direction for Nigerian Boyfriend? Was it the music or the visuals that came first?

Odunsi (The Engine): I just thought Nigerian Boyfriend was a cool name. I don’t know why no one had done it before. It just felt fun.

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Deeds Magazine: Your upcoming show on Tuesday is in Ikeja. Why the Mainland?

Odunsi (The Engine): It’s my roots. It’s where I grew up, started making music, and met most of my close collaborators. It’s like bringing it back home.

Deeds Magazine: In some sense, it’s a homecoming?

Odunsi (The Engine): You could say that, but it’s not that dramatic. It’s more about reconnecting with fans and the music.

Deeds Magazine: You’ve been independent for a while now. What’s it like being an independent artist in today’s global Nigerian music scene?

Odunsi (The Engine): I’ve experienced both being with a major label and being independent. They both have their perks. It’s not about striving to be independent or signed; it’s about making great music and doing what works for you.

Deeds Magazine: After Rare, you mentioned wanting to be the greatest, whatever that means. Do you still feel that way?

Odunsi (The Engine): I’m still learning and improving. I want to be a better performer, songwriter, producer, and communicator. It’s a journey, and I’m patient with it.

Deeds Magazine: 2025 is around the corner. What should we expect from Odunsi next year?

Odunsi (The Engine): I’m not sure yet, but it’ll be interesting. 2024 set the tone, and I think 2025 will be the most accurate manifestation of my vision so far.

Deeds Magazine: As a fan, I can’t wait to see what you have for us next year. Performances, music, visuals… we’ll be watching.

Odunsi (The Engine): Thank you. It’ll be exciting.

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Odunsi (The Engine) embodies a rare blend of vulnerability and creative fearlessness. From rediscovering himself in 2024 to creating music that pushed boundaries, he has proven that artistry is as much about self-reflection as it is about innovation. As he takes the stage on Christmas Eve for YOU ARE NOT ALONE, he invites us into a shared experience of music, performance arts, emotion, and connection—a fitting crescendo to a year marked by milestones. With Leather Park 1.5 breathing fresh life into an already dynamic catalog, Odunsi reaffirms his position as a vanguard of the Nigerian alté scene.

As he sets his sights on 2025, the journey promises to be nothing short of extraordinary. Odunsi’s unwavering dedication to his craft and his evolving vision leave us certain of one thing: this is still the beginning of a legacy redefining greatness.

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It only seems like yesterday that 2024 had arrived. Yet, we’re on its final stretch, which brings us to the perfect opportunity to look back at its music landscape, and pick out the projects we believe stood out from the crowd and will set a mark for years to come. It has been without a doubt the year of innovation, reflection, pushing boundaries and coming back to one’s roots, while being unapologetically themselves. Whether it is Nigerian artist Rema finding inspiration in the original fast-rhythmic of Afrobeat or French duo Tayc and Dadju embarking in their own fresh and new interpretation of Rumba chords. With a lot of beloved artists announcing their retirement this year, there is an undeniable calling for a new era in music, which appears to be as diverse in sound and genre-bending as ever before. This carefully-crafted list is a merge of the Deeds’ team playlists and highlights what we rank as the the top 10 most influential albums that were released in 2024.

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1. Rema: HEIS

When Rema screamed on the stage of his homecoming concert; “You can take the boy out of Benin but not the Benin out of the boy!”, he wasn’t lying. Just as we thought he had reached his peak of stardom with ‘Calm Down’  featuring the American Pop-singer Selena Gomez, the Afrorave instigator returned to the Benin soil and took its deeply-rooted elements to create something refreshing and new. When listening to the album ‘HEIS’ released in July 2024, Rema’s mission is blatantly clear; and that is to officially claim the crown as the prince of Afrobeat, and 4th ranking in the big Three conversation, which includes Wizkid, Davido and Burna Boy respectively. The overall ambience is ecstatic, lyrics and vocals are raw and moobish, with an aesthetic and aura arguably taking a nudge from Playboi Carti’s recent playbook.

2. Tayc & Dadju: Heritage

In terms of musical pairing in the last decade, there is no better French duo than Tayc and Dadju, which was proven in their collaborative album ‘Heritage’ that was released in February 2024. Never mind the first two singles ‘Makila: Wablé’ and ‘I Love You’ that had struck us by surprise, due to rumours of feuds between them via. Social media. They really set the tone for the year and their presence still resonates with us in December. Their album takes homage to their African origins of both Cameroon and Congo, whilst highlighting pivotals of each culture such as the importance of marriage, family and love. With special appearances of Gims, Singuila, Fally Ipupa, Tiakola and Samuel Eto’o; just to name a few, this project feels like a communal reunion. In recognition of the source to their music gene and overall success, the album presents itself as a foundation to the new French-Afro landscape. 

3. Len, Fimiguerro, Lancey: CONGLOMERATE

If we’re talking about the UK music scene and emerging genres, then nothing comes as close as the rebirth of the 2010s Jerk/Swag era. However, it would be a mistake to simply categorize Lancey, Len and Fimiguerro’s first collaborative album ‘CONGLOMERATE’ released in November 2024 as such. Perhaps in a quest to solidify their dominance in music conversation for the past few years, the two new artists and mentor came together and gave us a project of a lifetime. In under just a month, they have completely taken over the limelight. With purposeful details running through the soundscape, everyone’s rap pen and even the clothing style, these boys set a whole new standard. And everyone is taking notes, from the East Coast of America to London city. 

4. Tems: Born in the Wild

The Nigerian queen is here and she has brought all of her charm with her! Released in June 2024, ‘Born in the Wild’ is Tems’ debut studio album that, just like fine wine, is meant to age with time. From a first listen, it might seem as though the Lagos based singer is holding on to her guns, as she does it well. However, when one truly pays attention, then you would notice that those are songs that should accompany you as you walk through the journey of life and face obstacles, so to speak. Tems truly knows how to portray the complexity of love well and her record is as warm as the sun.       

5. Asake: Lungu Boy

True to his Yoruba beginnings, Asake stunts the world with his third album ‘Lungu Boy’ released in August 2024. Contrary to what his singles ‘Active’ featuring Travis Scott and ‘Wave’ with Central Cee may give off, the overall album takes a surfaced-level look into the struggles of handling his current lifestyle coming from the ghetto/hood, or lungu in Yoruba language. In contrast to his previous projects, Asake definitely took a step down, using less of his interpretation of Amapiano drums, and focusing more on the content of his lyrics than providing dance anthems that we’re used to. Perhaps to shed light in his journey thus far, reflecting on the obstacles and overall feelings he’s working on. But even on some rainy days, Asake always knows how to bring back the sunshine and makes sure to deliver his signature sound in party songs. 

6. Tyla: TYLA+

Tyla, Tyla, Tyla… What is there not to like? Released in March 2024, self-titled debut album ‘TYLA+’ did her best impression of Amapiano and represented her South African roots well. Adored by many around the world, her sound is magnetic and at ease. Both easy on the eyes and ears, her songs are as catchy as simply-put, which would explain her quick rise to fame outside of the African continent. Anyone and everyone can fall in love with her music, as she focuses on reachability over relatability, nuance more than squeezing some depth and merit into the lyrics. It is a question of her own doing if she will choose to reveal more of herself in her next project.   

7. Yseult: MENTAL

Yseult’s journey in the music industry is like no other. And to be able to claim a very successful career as an independent artist is even more rare. Everything really took a turn for the best in her highly-experimental second album ‘Mental’ released in 

September 2024, where she pushed for a genre-bending yet extremely vulnerable musical experience. It’s not everyday that a French artist may breach between the English and French-speaking set of audiences; however, Yseult does it all. This deeply-personal project is not far-off to the themes and dauntingness she is used to project in her past songs, but it gives off a different outlook. ‘Mental’ is truly a full-embodiment of everything that makes the starlet; an authentic and courageous artist not afraid to rise against the odds. 

8. Damso: J’ai Menti

Announced as his final album as he ventures to retirement, Belgium's favourite rapper Damso places all of his cards on the table in the album ‘J’ai Menti’ released in November 2024. Like the title may imply, Damso treats this highly-personal project almost like a diary as he confesses to his moralless actions. Making use of a range of musical styles such as Afrobeat, French rap and more, he attempts to show a most genuine look into the layers of his flawed soul. This brings forth the subject of infidelity, love of money and glimpse of an existential crisis. As the final chapter, this album is a gift to his fans as the imperfect man behind the rapper is finally revealed in its truest form and best music yet.   

9. Bashy: Being Poor is Expensive

Released in July 2024, ‘Being Poor is Expensive’ is Bashy’s one of many albums; however, one of his strongest yet to ever drop. The North-West London rapper takes us on a journey past his childhood, from the lens of everything delving around the subject of money. Vibing on clean beats, Bashy’s storytelling is immaculate, while making you bop your head as much as feeling intrigued to the build-up of each chapter in his life carefully displayed.  

10. Llona: Homeless

Perhaps a shocker to most, it goes without saying that Llona’s debut album ‘Homeless’ had one of the most cohesive bodies of work to come out this year. The project feels like Kano-State born artist’s symbolic mirror being reflected upon us and as a result, urges us to confront ourselves. Llona takes his time to unfold his greatest fears in life, while reminding us of his resilience and the heart of the lion he carries. He takes us in a ride of his difficult childhood, which makes mention of a broken home and promises. Finally, he decides to end his album with the virtue of forgiveness, as he recognizes his imperfections and traits he still has to work on.

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The end of the year brings upon moments of reflection when thinking about the events within 12 months. Spotify Wrapped, Apple Replay and various other forms of looking back on the year highlight what a year it has been. For many, 2024 has been quite the year, certainly for our final cover star of the year, King Promise, who dropped this third album, True to Self, over the summer and has since been performing on stages worldwide. Now, with the release of its deluxe and the completion of the True to Self-tour, which has seen him quite literally continental all over the globe, there is no doubt that 2024 will have been a standout year in the books for him. 

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Of course, when asking him about this year and giving him a chance to reflect on what 2024 has been like for him, gratitude is what comes to mind he shares. "Looking back on this year, my biggest reflection is gratitude. I'm grateful for the support, for sharing my music with the world, and for everyone connected with these songs." The support and the way people have connected with his music have been prominent not just throughout this year but throughout the six-year career that has taken Gregory Bortey Promise Newman from Accra, Ghana, where he first started his musical journey, to the international 5-star status that he has accumulated throughout the years. 

The start of True to Self came at the back of the COVID-19 pandemic where, for Promise, we had been through a lot, just like everybody else worldwide. At that time, he had a lot to say, and so began the process of what would amount to what he describes as his most open and honest album to date and being extra special compared to his previous works. The title 'True to Self' reflects his commitment to his musical roots and personal experiences. "It was right after COVID when I started making the album; everyone had gone through a lot, including myself. I had a lot to say, so I put it on the music". This led to one of his most significant viral moments, which came from the single 'Terminator', which dropped in 2023 and kicked off the whole journey towards the album. The track blew up internationally across social media platforms such as TikTok, YouTube, and Instagram, garnering millions of views with dance trends worldwide. 

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The expectation and reception of that song were not uncommon for Promise, who isn't a stranger to hit songs. Previous tracks like Sugarcane and Commando have gathered big numbers regarding streaming and are some of his biggest tracks to perform live wherever he goes. However, the most significant difference between those tracks and Terminator is the utilisation of social media, which for the album has given it a life beyond just streaming. King Promise's music, known for its catchy melodies and relatable lyrics, uniquely connects with listeners on a personal level. "I've dropped hits, several hits. For example, I dropped Commando, which is a big song of mine; however, at the time, there wasn't TikTok. Now there's TikTok, which is smashing it. Things will change; I haven't experienced levels before, but now I've experienced them due to Terminator and the dances. So, if I said I didn't expect it to do well, I'd be lying. But for it to do, what it has gone on to do is something I've never experienced." 

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The song itself was produced by KillBeatz, one of the many producers on the album and collaborators who worked to shape the sonic pallet of the project. As you listen through, you come through a variety of sounds; however, there's is a cohesiveness that runs through from top to bottom, this being something crafted by King Promise himself as well as his collaborators, who also include the likes of Guilty Beatz and, of course, JAE5 who have all been a part of the King Promise musical journey for some time now. As well as producers, he has several musical guests who bring something to the project. Gabzy, Shallipopi, FAVE, Fridayy, Ladipoe, Lasmid, Olivetheboy and Sarkodie bring their flare and sound to King Promise's vibe. The level of True to Self is a strong and more solidified body of work. He is never one not to be able to deliver quality across his projects, including his last two albums, 2019's As Promised and 2022's  5 Star. True to Self has continued to elevate where he is artistically and creatively in his career. He recognises that honesty and openness throughout this album have allowed him to reach deeper to get to this point. "I've always believed you make the most magic when you are as true to yourself. Very organic don't, like, overly calculated shit; I always say this. For this album, I was like, I'm going to bear it all: open vulnerability, trueness, just realness. Be the artist, brother, superstar, friend and son."

'Believe', the opening track on the album, sets the tone for the album and the words that are being spoken throughout the album. The words represent something as he explains his tattoo, with the exact words written across his arm. "It's the opening track on the album, but it's also my motto in life: I believe. This belief in myself has been a driving force in my journey as an artist, and I hope it can inspire others to believe in themselves as well." The song speaks to his artistic journey and talks of one's belief as such as been displayed throughout his career from his beginnings in Accra with his family and friends and how all you have to do is believe in yourself because it's the most important thing. His sense of belief and the evidence that has been clear from the beginning has always been a key part of his artistry. "Where I'm from, we're supposed to be somewhere else—most of the friends I grew up with never dreamt of days or times like this. We control the narrative; we represent the people. What we see and represent is what the people believe, and what we give off is what people want to do. My music is not just about me but my people, culture, and country. It's a way for me to share our stories, struggles, and triumphs with the world." His story is not abnormal and proves what happens when one's purpose is aligned. Coming from a regular family to take over the world and sell out tours across the world may seem like a crazy idea when you say it out loud; however, it returns to the sense of belief that he has sustained and been able to carry throughout his career.

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With everything achieved in the six years, it is a surprise that music was never the path a young Gregory was meant to pursue. He says, "I didn't plan on being an artist; I followed my friends to the studio. I was supposed to be the footballer. They made music, and then one day, randomly, the headmaster heard me sing in my class and told me to go to the choir." The rest, as they say, is history, the timeline and trajectory of events since then. As he sees it, it is a calling that is meant for him and all a part of God's plan, which, as has been seen in the course of his career, is very accurate, and he holds the truth to what he says, "I believe I was born for this. This is God's plan; it was meant to happen this way, and I was meant to be in this position. All these things happen; just having the mentality of seeing where we're from and looking at where we are now makes me feel extra proud, and it's fulfilling knowing that we're doing this". The importance of representation is not something that falls lightly. Still, it is a responsibility that he has since accepted when speaking for his people, among the likes of DarkoVibes, Amaarae, JULS, Gyakie, Stonebwoy, Moily and Black Sherif,f to name a few who stand in their roots and represent the country of Ghana. This is apparent not only in his music but also in everything he stands for and represents. He acknowledges this regarding the responsibility it entails and what it all means. "As long as I'm making an impact that serves the people well, I'm controlling the narrative, changing the game, and making it beautiful. My music is not just about entertainment; it's about empowerment. It's about inspiring others to dream big, work hard, and believe in themselves. You could do it if I could, and I'm thankful for that."

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As we speak about this time and this moment of his career, there is an intentionality that he moves with and everything that this moment represents for him. Bigger than himself, bigger than his career, nothing is done by accident. It's all steps and building blocks to keep elevating and growing, show the next generation of talent what is possible, and maintain authenticity beyond just doing what is expected. He says, "I'm very intentional about my work; I don't like calculated shit. When I say it's intentional, I want this as much as you see. It's not a joke for me. So it's intentional in the way that I keep thinking we need to up the levels, but we also have to make sure it's the most authentic, and it's not just people putting things together because that's what makes sense. I want my fans to trust that what they see and hear from me is always authentic." The album is a prime example of this; he has ensured that it has come out and come together the way it has.  When speaking on this, a real sense of pride has come through in the quality and the work delivered from the project. "Even with this album, I've been very intentional about the sound. I made a lot of songs, and obviously, we took a lot out. We had meetings with the whole team and the label and went back and forth, agreeing to disagree. Eventually, we settled on something, and then we flew with it. We were intentional about what we wanted it to be and everything we wanted for the project."  The results have been a strong testament to the collaborative effort by everybody involved, from the album to the show and everything present in this era of the King Promise journey. 

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The energy and vibe were very present on set with the TikTok dance choreography lessons, how the music captured the essence of King Promise, and how it made people feel when taking in the music. As we reflect on the year and this era, there is no double; the future also looks bright with what is coming on the horizon. I pose the question both personally and professionally. It's about going beyond the music and getting a chance to live. "When I think about what's coming next, I just want to let life live its course and do my thing. Really and truly, I'm happy I've given guys the music. Now I want to live, just being there for my friend and family, and just being Gregory and not just King Promise."  For King Promise, it's just the beginning. "I'm excited to keep creating, connecting, and pushing my artistry to new places. There's so much more music to make and so many more stories to tell. The journey's just beginning.". And so, as we depart from this time, the deluxe of the album has just dropped, extending its lifespan further beyond Detty December and beyond, and we are very much looking forward to seeing where the continued journey continues to take him onwards and upwards. 

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Credits: 

Creative Director: Massimiliano Giorgeschi @maxgiorgeschi & Zekaria Al-Bostani - @zek.snaps

Photographer: Massimiliano Giorgeschi @maxgiorgeschi 

Producer: Seneo Mwamba @seneomwamba

Lighting: Alex José -  @alexjose.photo

Lighting Assistant: Bella Bujosa-Armora 

Mua/grooming: Dalila Bone @Dalila_mua

Stylist: Kiera Liberati @kieraliberati

Styling Assistant: Nnena Eagle

Jewellery: LKB @localkettlebrothersuk

Co-Director: Cherise Hewitt @dripeisha__

Creative Assistant: Whitney Sanni - @its.whit_

BTS Video: Derek Huynh @dxzfilms

Marketing Manager: Sophie Lee @eeleihops

PR: Always Protected Publicity @alwaysprotectedpublicity

Journalist: Seneo Mwamba @SeneoMwamba

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Styling Credits

Look 1

Jacket DAILY PAPER

Vest The lobby

Jewellery KETTLE BOTHERS

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Look 2 

Hat DAILY PAPER

Jacket BOY LONDON

Trousers YENISA

Boots TIMBERLAND

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Look 3 

Full look SILPA 

Trainers NIKE

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Look 4 

Full Look YYATOMIC

Watch KETTLE BROTHERS 

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Look 5 

Full Look SILPA

Boots Doc MARTIN

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Gathering among the masses in Hackey to witness NAO's incredible talent as she returned to the stage was a night like no other. In the November cold, where the appeal to leave the comfort of one's home is at an all-time low, there was nothing more appealing than spending a night in a church witnessing NAO as she played to a sold-out show in a room filled with invigorating energy and a love that was so real for her.

The announcement came a month ago following the release of her comeback single, ‘Wildflowers,’ after a three-year absence following the release of her 2021 album, ‘And Then Life Was Beautiful.’ During that time, the songstress gave birth to her second child and experienced the changes that came with it. 

Now, back in the musical space that has missed her vocal talent, her return has come with the announcement of her upcoming album Jupiter, which has already garnered two singles so far, “Wildflowers” and “Elevate.” Unsurprisingly, the NAO Intimate & Stripped Back show sold out within moments across the four cities she performed in. Saving her hometown of London for last, she gathered her fans in Round Chapel Church for a night filled with immaculate vibes, pulsing energy, and a reminder of her incredible talent.

She mesmerized the audience by opening the show from the church's balcony, surrounded by her fans. Her angelic rendition of ‘Another Lifetime’ set the tone for the evening. She then descended to the stage, strategically placed in the church's center, offering a 360-degree view of her performance.

NAO's performance was a testament to her unique sound and the incredible catalogue she has built since her 2015 EP, 'So Good.' Her voice, distinct and powerful, cut through the typical voices of the UK music scene. Her authenticity as an artist, always standing true to herself, was a quality her fans deeply appreciated, evident in the love they showed for her.

Songs like ‘Orbit’ ‘, If You Ever’ ‘Fool To Love’ ‘Complicated’ and ‘Antidote’ received the love and appreciation expected from fans as they never missed a note and kept going with her from start to finish. Other moments  included her cover of D’Angelo’s Untitled (How Does it Feel) and the finishing track ‘Drive and Disconnect.’ And, of course, there were definitely more hits left off the set list.

Speaking to the crowd, she spoke of her five-year absence from music, how, in that time, she had been embracing her new journey of motherhood, and how these shows were a nervous experience for her. However, as a keen NAO fan, one will always know that no matter how long the absence may be, we shall always be here and ready, and that was never truer and more evident than in that church.

As we eagerly await the next chapter of NAO's musical journey, we can't help but feel excited for what she will bring in 2025. 

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When the undisputed star of Afrobeats chooses to open his heart, the world can't help but listen. Wizkid's sixth studio album, 'Morayo', is more than just a collection of songs—it's an intimate tribute to his late mother, Jane Balogun. This album is more than just music—it's a heartfelt tribute wrapped in beats and melodies that only Wizkid can deliver. Expectations for this album? Astronomical. But Wizkid isn't new to this; he's true to this, and he delivers.

After months of teasing and anticipation, 'Morayo' lands and Big Wiz takes us on a journey that's both personal and universally relatable, blending grief with grooves that make you move.

Here are my top 10 tracks that define this remarkable album:

Troubled Mind
The album kicks off with "Troubled Mind," arguably Wizkid's most profound intro yet. It starts with an eulogy from Fuji legend K1 De Ultimate, honoring Wizkid and acknowledging his loss. As the beat drops, you can literally hear the pain in Wizkid's voice when he sings, "Yeah, one shot for mama / yeah, I miss you." P2J's exquisite production sets the tone, making this a powerful opening that grips the listener from the outset.

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Kese
If you're looking for a certified gbedu, "Kese" is it. This track is an instant club anthem, with Wizkid's impeccable flow and energy driving it home. He confidently declares, "Cause anything I drop, them go chop Aje" reminding us why he's the king of making people move. With Kese, you would definitely gbese!

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Bad Girl (feat. Asake)
When Big Wiz and Mr. Money link up, you already know what’s up. Following their earlier chart-topping collaboration "MMS," "Bad Girl" continues the momentum. "Bad Girl" is a banger tailored for the girlies. Wizkid's poetic flair shines with lines like "This kele na my kind meat," Afropoetry, and the synergy with Asake is undeniable. It's the kind of track that tears up dance floors and keeps the vibes on 100. La-do-mi-re-mi-re-do.

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Time
"Time" brings back the smooth, laid-back R&B vibes reminiscent of Wizkid's Made in Lagos era. Over mellow beats masterfully produced by P2J, Wizkid serenades with a simplicity that's profoundly effective. This is Wizkid in his element, cruising effortlessly and reminding listeners of his ability to convey deep emotion with subtlety.

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Break Me Down
Still in R&B territory, "Break Me Down" showcases Wizkid's versatility. His flow is silky, the melody captivating, and the lyrics explore vulnerability. It's a classic R&B vibe that highlights his ability to transcend genres while keeping his signature touch intact.

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Bend
"Bend" is all about fun and vibes. An instant club anthem for the ladies, this song is catchy with its repetitive hook that just sticks. While it might not break new ground, it's undeniably a feel-good track that gets the party started.

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A Million Blessings
Here, a more introspective side of Wizkid emerges. "A Million Blessings" sees him reflecting on his journey, expressing gratitude for his successes and the lessons learned. He doesn't shy away from acknowledging his blessings—"Blessings dey fall like water for my head"—and uses the opportunity to address his competition: "The competition, omo, where you dey? I stand plaster every day." It's a subtle assertion that while he may be laid-back, he's always ready to define and defend his legacy.

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Après Minuit (feat. Tiakola)
Crossing international borders, "Après Minuit" is a gem. Featuring French artist Tiakola, this track is sensual, romantic, and poetic. Wizkid effortlessly blends English and French, showcasing his global appeal. It's smooth and captivating—a standout on the album.

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Slow (feat. Anaïs Cardot)
Arguably the best song on the album, "Slow" features the enchanting vocals of Anaïs Cardot. Wizkid muses, "We no fit pay for time while we come dey rush," encapsulating his ethos of living life at his own pace. It's a lo-fi sweet treat that sees Wizkid asserting dominance with his vocals. 

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Pray
"Pray" is the perfect bookend to the album. Wizkid reflects on his journey and his mother's influence, singing, "I know my mama pray for me, and I know the heavens dey for me." This moment of vulnerability is brief but powerful, reminding us that beneath the superstar persona lies a son who recently lost his mother. 

Final Thoughts

On 'Morayo', Wizkid stays true to himself—choosing celebration over sorrow, vibes over melancholy. Unlike its predecessor More Love, Less Ego, we see a more energetic Wizkid on this album and a bit more diversity with different sounds. He's the maestro, cruising comfortably across genres and reaffirming his position at the forefront of Afrobeats.

This album arrives at a pivotal moment, contributing to the Afrobeats reset that has been unfolding, especially following Rema's release of HEIS earlier this year. "Morayo" captures the essence of  dancing through pain, blending heartache with harmony, and ultimately celebrating life amidst loss.

Rating: 4/5

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London born and bred music producer takes New York City and shares his plans for the near future

It is not everyday that one finds themselves in Brooklyn on a fine Wednesday afternoon. Even less in the area where one can hear a biker playing Taylor Swift while passing by and groups of determined runners take turns to disappear and reappear from all directions. So when the opportunity presents itself and Young Songs’ first publishing signee and A&R Kwes Darko invites you for a conversation at a studio location where the outside streets are as clean as Christmas Eve, you do not hesitate. 

Although you could trace Kwes’ journey back as early as 2009 with his most known EP series ‘Blue Daisy’, and when he was still mainly operating as the front runner; nowadays, the Camden music composer and producer prefers to work in the background. Needless to say, his impact does not come unnoticed at all, even in the shadows of somebody else. And the sector of artist development he has mastered played a vital role in shaping the UK music scene (& beyond) of modern age. From the likes of Northampton born rapper Slowtai, Zambian singer Sampa the Great, Coventry’s finest Pa Salieu and now John Glacier, Kwes truly knows no boundaries. With a carefully-curated selection of production and a variety of sound that stretches as wide as the Nile, it does bring one to ponder; how does Kwes Darko tick? And what are his motives behind every move? Without question, Kwesi is one of the few producers that urges you not only to listen to the music but also, feel it.

As I make my way to the reception of the building, I let Kwesi know that I have arrived. It didn't take him long to direct me to the fifth floor while reassuring me that he would be waiting at the elevator’ doors. Perhaps out of shock, it takes me a minute to recognize the man standing in front of me; however it’s the black 110s (Air Max 95 in UK slang) that gives his identity away, a London classic trainers that never gets old in the hearts of those who’ve grown in them. His overall look is much more subtle and a far cry from the days of huge black shades and dreads styled in the form of a vertical cross. As we pass through wooden halls, Kwes explains a little bit about the reason for his stay in the vibrant city of New York. We are met by Kwes’ friend and worker at this studio office who welcomes me in with open arms. Finally, we end up in the studio to our left which at first glance, might seem too bright for a recording room. Instruments and production equipment are pressed against each corner of the studio’s walls, while a satin-like sofa next to the entrance faces the music of it all. I choose to sit on the sofa while Kwes makes himself comfortable on a desk chair close by.

“There is a new energy here.”

Although New York may not be his home, or his second home at best, it is one of the cities that Kwes Darko has been thoroughly visiting since 2019 and makes him feel this spark he describes, that perhaps even he does not fully understand yet. From its large creative community to the never-ending subgenres that roam in the thick of it, New York truly is a city of endless opportunities. “There is a new energy here,” are the words Kwes chooses to start his sentence with when asked what brings him to the opposite side of the Atlantic ocean. “For a while, I’ve been looking for that new challenge,” he proceeds to explain his side of the story. You see, Kwesi is not unfamiliar to displacement and one may say that a nomadic lifestyle is ingrained in him. From an early age, the music producer went from the humbling years of Ghana to the white-dominant London zone of Camden. Not everything was bad though, as he got to witness Camden's golden age where one could still see the late Amy Whinehouse just walking by or Chris Martin “right across the street,” he remembers. Like that energy that once used to pull him to the grounds of London has now transpired to the city that never sleeps; New York.

Kwes Darko lays it down clear that he is far from a newcomer in the East Coast scene. Like the music lover and A&R he is, nothing doesn’t make it to his ears and while he is gliding his way through New York’s music landscape, so is his interest and curiosity. On his radar is none other than AJRadico who certainly is making some exceptional noise in the NY rap world. Kwes also makes mention of Ishmael (or Ishmael Raps), a talented fashionable entity from Rochester who has dedicated himself to his craft for almost a decade. A few others appear to have set a mark in his roster as well such as Selah Marley that he’s been introduced to, Surf Gang, MIKE and a fair amount more. “Similarly to London, New York has the soil that every few years, it breeds something exciting,” is the mood he decides to end his list on. When Kwesi said he is a diamond digger, it surely isn’t an over-exaggeration, showing praise to the Harlem-Senegalese rapper Joe West who has since polished his unique sound to the point it is hard to ignore. 

In a time where the UK music scene is as active and diverse as ever before, it is hard to believe that Kwes Darko wouldn’t  be tapped in with its up and coming and exciting acts building up their core audience such as the likes of Jim Legxacy. To which he gladly responds: “It is all about divine timing” and giving us hope that the link up between them two is only a question of time. To be fair, Kwesi is not here to ride a wave, his mission is to develop artists. “No shade on the London scene but, when I’m in my own world, my blink is on,” referring to his prodigy John Glacier and their newest release ‘Found’. Something that Kwesi has demonstrated over and over again throughout his career; when he chooses to work with an artist, is to create a world in which both can grow from, and not just a few credits on selected songs. This organic get-together is one of the tools that makes him stand out from the crowd and which explains why his touch on artists such as Obongjayar is curated rather than saturated. From the tone and demeanour towards acts such as Bxks and Chy Cartier, it becomes clear that Kwesi has found comfort as a supporter rather than a collaborator to London’s rising community. 

Speaking of comfort, this brings us to the reason for his biggest move yet; transitioning from London to New York. “Comfort is a crippling thing,” he admits while setting out his realisation. “Of course, mastering your craft is important but, in order to better your craft, you need to face challenges,” he adds for more clarity. For many decades, there has been the argument whether the UK holds a glass ceiling to how far one can go and the furthest one can achieve. This is why when you see successful artists such as Skepta, Lancey and now Central Cee catering more and more to an American audience, it does beg the question if there is only so much one can do due to the system in place only allowing UK artists to dream to a certain extent. This is a similar sentiment Kwesi seems to share, recounting artists who’ve reached the top and then, in retrospect, lost the spark that had made them in the first place.

Kwes Darko sees himself as the bridge from the booming scene of London to the Eastern coast of North America. Much like the late Quincy Jones who spent a large amount of his time exploring Western Europe to learn and gain inspiration for its distinctive music origin and its even more distinctive artisans, so is Kwesi on a quest not only to exchange with New Yorkers but grow with them, in hopes it will birth a new nation, so to speak.  “I think it is key for us artists to travel through the storm,” he acknowledges with pure lights in his eyes. It is undeniable that adventure flows in Kwesi’s veins, and what better city to test your muscles than New York. And so, his ever-changing journey has brought him to this new chapter in life where he hopes to bring all of his expertise thus far to the East Coast and shift the paradigm as he is known to do very well. We, Deeds Magazine wish him nothing but the best on the start of a new era; Kwes Darko’s global take over. 

Jaz Karis, the captivating R&B singer from South London, has returned with Safe Flight, an album that beautifully captures the complexities of love, nostalgia, and self-discovery. Known for her soulful voice and ability to tap into universal emotions, the artist behind Into the Wilderness brings us a deeply personal and relatable project. With themes reflecting her “quarter-life crisis,” the 27-year-old singer-songwriter opens up about her journey of balancing family, friendships, and the pull between two cities—London and Los Angeles.

Welcome to the Diary of a romanticise …

For Jaz, Safe Flight is more than just an album—it explores love in all its forms. “Love is a big influence,” she shares, “but it’s not just romantic love; it’s also about family, friendships, and even the love you feel when you’re travelling and missing people.” From start to finish, love and nostalgia are woven into the album’s core, offering listeners a heartfelt and multi-layered experience.

One of the record’s standout tracks, “Sunset Blvd,” captures the artist’s romantic side and has resonated deeply with fans. Written during her time between London and LA, Jaz describes it as a “lover girl” anthem that embodies the thrill and safety of new love. “It’s about that beautiful beginning stage,” she explains, “when everything feels safe and exciting.” Jaz likens the experience to cruising down LA’s iconic Sunset Boulevard, with feelings of love and possibility filling the air.

In many ways, Safe Flight mirrors the vocalist’s own journey through what she calls a “quarter-life crisis.” At 27, Jaz finds herself navigating the pressures of adulthood—a theme familiar to many listeners of her generation. “There’s this strange rush to achieve, make money, and build a status,” she says. “But where’s the guidebook for all of that?” Safe Flight captures her reflections on these challenges, creating an authentic narrative that resonates across generations.

Splitting her time between London and LA has broadened her sound and identity, adding new layers to her artistry while keeping her grounded. Though she’ll always consider London her home, the songstress admits that LA has a certain pull. “I’m always going to be a South London girl,” she says with pride, adding that LA’s unique energy has grown on her. “LA has this fresh vibe; everyone’s willing to try new things. It’s different from London’s vibe, but I’ve found people and places that make it feel like home.” Her time in LA has influenced the album, bridging her roots with her new experiences abroad.

Adjusting to life in America hasn’t been without its quirks, however. Jaz’s friend and collaborator Phabo—known for Soulquaris and his contributions to Kehlani’s discography—often teases her about her search for British staples in LA, particularly baked beans. “America just doesn’t do baked beans the way we do—they add sugar to everything!” she laughs. Her solution? She stocks Heinz beans whenever she is back in London and always carries tea bags on her travels. “Some things are non-negotiable,” she jokes, “especially my tea!”

Culture and heritage are also constants in the singer’s music. Coming from a mixed background, the 27-year-old has embraced the various sounds and influences that shape her style. Working with producers like Juls, who brings Afro-fusion vibes to the mix, has allowed her to explore her roots in a way that feels personal and authentic. “The more comfortable I’ve become with myself, the more I’ve been able to blend my cultural influences with my sound,” she reflects. Safe Flight represents a new chapter in her journey, where her heritage and personal growth meet in beautiful harmony.

Her sound isn’t the only thing evolving. Recently, the R&B artist’s spiritual journey has deepened, adding another layer of meaning to her music. “I feel so much closer to God through everything I’m doing,” she says. While she’s still figuring things out, she hopes her music carries a message of love—a message she’s refining as she grows. This spiritual path is a vital part of her artistry, one she looks forward to exploring in future projects.

Reflecting on advice that has shaped her career, Jaz cites something simple yet powerful: “Don’t take things personally.” This perspective has been invaluable in both her professional and personal life, helping her focus on her goals without being weighed down by outside opinions. It’s advice that underpins her resilience in an industry that often demands grace under pressure.

For her parting message to fans, the singer leaves them with words to live by: “Just love and let go.” To the songstress, this motto is a reminder to approach life with an open heart and to trust in the journey.

With Safe Flight, Jaz Karis has crafted an album that speaks to the heart of a generation. Her honesty, her connection to her roots, and her commitment to growth come together to create a sound that is unmistakably hers. Through this latest release, she invites listeners to embrace love, nostalgia, and the beautiful complexity of finding oneself along the way.

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CREDITS

Creative Director & Photographer: Radhika Muthanna @radhika.photos

Radhika Muthanna - @radhika.photos

Photography Assistant: Izzy Jennings - @capturedby.izzy

Producer & Creative Director: Seneo Mwamba - @seneomwamba

Project Manager: Zekaria Al-Bostani - @zek.snaps

Stylist: Palesa Dlamini - @masentle

Styling Assistant: Elise Wayne - @itselisewayne

Lighting: Alex José - @alexjose.photo

Movement director: Anaïs Watson - @anaiswatson

Makeup Artist: Zakiyah Shani - @zakiyahshani

Hairstylist: Esther Elkana - @estheticshair

Creative Assistant: Whitney Sanni - @its.whit_

Art director & Backdrop artist: Shania-Mae Wright - @shaniam00

Design: @Deeds.Studio (@dianeadanna& @ShalemAlone)

BTS: Johnny Cooke - @Johnny__cooke

Journalist: Thandie Sibanda - @thanddd

PR: Jaisha Thomas-Hinds - @Jaish_

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PERFORMING HIS ICONIC DEBUT LP ILLMATIC IN ITS ENTIRET TAKING PLACE OCTOBER & NOVEMBER 2024 

Friday 19^th April, London: Released 30 years ago to this day by a then 20-year-old Nas, Illmatic is widely regarded as one of the greatest and most influential hip hop albums of all time. In celebration of the record’s 30^th anniversary, the Queensbridge legend will tour Europe and the UK throughout October and November 2024 with shows starting in Finland and finishing in London. The fifteen-date tour will see Nas performing his iconic debut LP Illmatic in full. Tickets are on sale at 10am on Thursday 25^th April from AEGPRESENTS.CO.UK.

Illmatic is not only one of hip hop’s best albums, but one of the greatest records across any genre. Every bar from Nas is personal, purposeful, and loaded, painting a vivid picture of what it meant to grow up in New York in the 90’s. Every sample-laden beat is distinctive and razor-sharp in its execution, coming from a dream team of production talent in DJ Premier, Large Professor, Q-Tip, Pete Rock and L.E.S.

The RIAA platinum LP features modern-day classics including “N.Y State of Mind”, ‘Halftime, “The World Is Yours” and “It Ain’t Hard to Tell”. 30 years later, Illmatic remains the benchmark for how great rap can be. 

The Illmatic 30 Year Anniversary Tour will start in the UK on 10^th November at Manchester’s O2 Victoria Warehouse, followed by 11^th November at Edinburgh’s Usher Hall, Wolverhampton’s Civic Hall, before concluding at the iconic Royal Albert Hall in London on 15^th November. 

Nas also commemorated the 30th anniversary of Illmatic with the release of a new track, “Define My Name,” produced by DJ Premier - who produced a handful of tracks on the timeless classic (“N.Y. State of Mind,” “Represent,” “Memory Lane (Sittin’ in da Park)”). “Define My Name” is now available via Mass Appeal - listen HERE. 

Register now for the Illmatic 30 Year Anniversary Tour presale at aegpresents.co.uk/nas-presale/ which starts on Tuesday 23^rd April at 10am. General on sale is available from Thursday 25^th April at 10am from AEGPRESENTS.CO.UK .

In an enlightening interview with Deeds magazine, Saudi Arabian R&B sensation Hamza Hawsawi opens up about his groundbreaking journey from Middle Eastern music enthusiast to international soul artist. The X Factor Arabia winner reveals how western artists like Michael Jackson, Boyz II Men, and Babyface shaped his distinctive sound while navigating the complex landscape of creating contemporary R&B music in Saudi Arabia. 

Early influenced by vocal powerhouses Joe Thomas and Kevon Edmonds, Hamza Hawsawi's musical evolution represents a fascinating fusion of western soul music with Middle Eastern sensibilities. Despite initial challenges of being a non-Arabic language performer in the Saudi music industry, his persistence and authenticity eventually led to breakthrough success on X Factor Arabia, marking a pivotal moment in his career trajectory. 

As Saudi Arabia undergoes significant cultural transformation, Hamza Hawsawi stands at the forefront of the kingdom's evolving music scene. He acknowledges his role in paving the way for emerging Saudi artists in alternative genres, while carefully balancing traditional cultural values with R&B's contemporary expression. Looking ahead, the artist teases ambitious plans for monthly releases throughout 2024-2025, featuring collaborations with local, regional, and international artists. 

Deeds: Hamza Hawsawi, as a Saudi-born artist, how did your journey into R&B music begin? What inspired you to pursue a genre that is not traditionally associated with the region? 

Hamza Hawsawi: My journey into R&B and soul music started in my childhood. I was fortunate to grow up surrounded by various types of music. I listened to Arabic styles as well as artists like Michael Jackson and Prince, which opened my eyes to new sounds. However, it was when I heard Boyz II Men, Babyface, Kevon Edmonds, and Joe that I truly connected with R&B. Their music gave me a feeling I had never experienced before, and from that moment on, R&B became my favorite genre. It was a natural choice for me when I began singing and making music. 

Deeds: Who were some of the major R&B artists that influenced your sound? How do you blend your Saudi heritage with the soulful elements of R&B? 

Hamza Hawsawi: I was first captivated by vocal harmonies when listening to Boyz II Men. Hearing Joe Thomas' "I Wanna Know" showed me the true power of the voice as an instrument. Babyface’s songwriting taught me the importance of the pen and emotional expression. My goal has always been to create R&B music in the way I grew up loving it, while incorporating my own stories, experiences, and reflections. I’ve experimented with various sounds and genres, blending Arabic elements and local instruments to create something unique. But when it comes to R&B, I stay true to the style I fell in love with. 

Deeds: What challenges did you face breaking into the international music scene as an R&B singer from Saudi Arabia? Were there any cultural or societal barriers you had to overcome? 

Hamza Hawsawi: One of the first challenges I faced was being a Saudi artist singing in a language other than Arabic, especially when traditional Arabic music was getting all the attention. When I started making R&B, I felt like I was in a vacuum. Looking back, this was a great position because it allowed me to develop my sound without outside pressure. Over time, I connected with other artists and music lovers with similar tastes, and things began to take off. Live performances were also challenging, as there wasn't much demand for Saudi R&B performers, but that period of obscurity helped me hone my craft until the right moment arrived. 

Deeds: Winning X Factor Arabia was a major turning point for you. How did that experience shape your career, and what impact did it have on your music? 

Hamza Hawsawi: After years of working in the shadows, X Factor was the culmination of my hard work. When I joined the show, my primary goal wasn’t to win, but to gain more experience and refine my craft. I didn’t expect an R&B artist like me to win a show in the Middle East, where most contestants performed in Arabic. However, I brought my best to the stage, and fortunately, I was able to win. That experience boosted my confidence and opened many doors for me as an artist. 

Deeds: The Saudi music scene has seen significant changes over the last decade. How do you see the R&B genre growing in Saudi Arabia? Do you feel a responsibility to pave the way for other Saudi artists in this space? 

Hamza Hawsawi: I definitely feel responsible for solidifying the presence of R&B in the region, alongside many other talented soul and R&B artists. With the increasing focus on music in Saudi Arabia today, more artists are pursuing their passions, including alternative genres like R&B. This shift creates massive opportunities for collaboration and growth in the local music scene. I believe the future will showcase R&B in Saudi Arabia the way it deserves to be seen. 

Deeds: You’ve collaborated with various international artists. How have these collaborations influenced your music, and can you share any details about upcoming projects or new music releases? 

Hamza Hawsawi: Collaborating with different artists, producers, and songwriters is one of my favorite ways to create music. It allows me to learn from others and approach my own work with fresh perspectives. Each collaboration teaches me something new about songwriting and performance. Looking ahead, I plan to release new music monthly throughout 2024 and 2025, and I’m excited about upcoming collaborations with local, regional, and international artists. 

Deeds: Saudi Arabia is known for its rich culture and traditions. How do you balance these cultural influences with the modern and sometimes provocative nature of R&B? 

Hamza Hawsawi: Being mindful of Saudi Arabia's generally conservative culture is important to me. While R&B can be provocative in its vulnerability and expression, I always try to respect our traditions when writing music. However, there are times when I allow myself to fully embrace the genre without limitations, especially when a song speaks to something deeply personal. It’s about finding the balance between staying true to the genre and honoring my roots. 

Deeds: How does it feel to perform your music for audiences outside Saudi Arabia? Have you noticed any differences in how your music is received internationally compared to at home? 

Hamza Hawsawi: Every audience and stage is unique, which is one of the beauties of performing. I’ve noticed that in Saudi Arabia, the feedback I receive tends to focus on the overall experience of the performance, while international audiences often zero in on the details—such as the lyrics, vocal expression, and instrumentation. Both types of feedback are valuable and provide insight into how different cultures experience art. 

Deeds: Music is often seen as a tool for social change. Do you think your success and that of other Saudi artists can influence cultural perceptions in the country, especially regarding the role of music and creativity? 

Hamza Hawsawi: I believe this shift is already happening. Artists of all styles are being given opportunities to showcase their work, and this is having a big impact on our confidence as individuals and as a community. The establishment of music institutes, the integration of music into schools, the increase in festivals, and the rise of local record labels—all these factors point to a growing recognition of music’s influence in Saudi Arabia. 

Deeds: What advice would you give to young Saudi artists trying to break into the global music industry? What key lessons have you learned in your journey? 

Hamza Hawsawi: First, it’s important to remember that as artists, we are constantly evolving, and our personal growth goes hand in hand with our artistic journey. This is a lifelong process, and loving the journey itself is key to longevity. The path won’t always be easy, so patience is essential. Also, collaboration is vital—while the creative journey is personal, it’s also a community effort. We learn from each other. Finally, don’t be afraid to be fearless in your art. Authenticity is what makes your work stand out, and that’s what people will connect with. 

Listen to more music from Hamza Hawsawi here

Watch Wonder official here

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Tierra Whack once again transported audiences to Whack World when she headlined the Pitchfork Festival in London at the Roundhouse. The Philly rapper, who hadn't played in the UK since her Village Underground show in 2019, returned earlier this year following the release of her debut album, WORLD WIDE WHACK.

Accompanied by her DJ, Whack presented a set brimming with her flawless melodies, hard-hitting bars, and an all-encompassing energy that reverberated through the crowd from start to finish. Whack's distinctiveness in her approach to music and artistry, a trait that has always set her apart, was on full display.

She broke out into the scene with her freestyle raps, which gained her an audience online, before coming into the space with her mixtape WHACK WORLD back in 2018. The project, which has a run time of 15 minutes, is filled with one-minute tracks that, although short, pack a punch with her clever lyrics and eccentric music video, which married well against the music's aesthetic. 

The show was a testament to this. She delivered a set of just under an hour, brimming with her playful personality as she interacted with the crowd throughout the show. She invited two fans to sing on stage with her, one celebrating a birthday and the other requesting a Flea Market throughout the show. She even joined them in the crowd, becoming one among the masses. Her mother, witnessing her performance in London for the first time, shared a touching moment with her, adding an emotional depth to the show. 

She kicked off the set with 'MOOD SWINGS', the opening number from the project, and proceeded to bring the album to life by performing tracks like 'SNAKE EYES, CHANEL PIT,  MS BEHAVE, IMAGINARY FRIENDS, TWO NIGHTS '. She also took the audience back to previous songs like 'Fuck Off', 'Flea Market', and the fan favourite 'Clones', ensuring a diverse and satisfying musical experience.

One thing about Tierra Whack is that her creativity has always remained strong. As she has always marched to the beat of her drum, one thing is evident: She is somebody who will always give you an enjoyable experience in any way that she delivers. 

When you press play on Peace and Love, Juls's latest offering, you are once again transported to a sonic landscape that takes you all across the world. From top to bottom, the 18-track album once again provides evidence of his ability to constantly evolve and grow within his artistic talents while also remaining true to the sound he has been able to cultivate throughout his 10-year career span.

The album is a vibrant collection of sounds that are both rhythmic and deep in the sonic realms they transpire from. Taking listeners from sounds from Brazil, Ghana, the UK, South Africa, and everywhere in between, he is the prime example of somebody who sees no borders in the music he is able to create.

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Not to mention his ability to bring together various talents from all over the globe, including frequent collaborators such as Tay Iwar, Projexx, and Jaz Karis. He blends a mixture of talent, from established artists to newer talent names such as Victony, Ghetts, Wretch 32, Odeal, Mereba, and Joey Bada$$, to name a few. He allows them to flourish in their own way across the beats and sounds that he creates.

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His work as a producer and DJ over the past decade has made him one of the sought-after global tastemakers. He has been able to tap into new sounds and build a sonic profile that is unique to his style of music and makes him stand out amongst his peers.

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Speaking to Juls, we touched on his new album Peace & Love, the secret behind his collaborations—10 Years of Juls—and so much more.

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You just released your latest album, Peace & Love. Tell us about the title and its meaning.

So, Peace and Love is a phrase that I often use when speaking to everyone and anyone, from my parents to siblings, to friends and colleagues. When I say goodbye, I'm like, "Peace, peace," or if someone is saying something to me, it's like, "Love, love, love." But the reason behind me calling my album Peace and Love is because a lot of the sonics in the music that I was creating over the last few months were just around environments that depicted peace, whether it was on my travels, in the hotel or my studio making some of these beats. I guess a lot of the love I had when making the music came from being surrounded by a lot of love—from family, friends, and many artists I work with. There was a lot of love in the room in terms of collaboration and a lot of appreciation for each other's art. Over the last ten years of making music, many of my music and sonics have depicted that vibe, whether the message is about love, lust, intimacy, or something more profound. So, I decided to call my album Peace and Love because when someone listens to the CD, the vinyl, or plays it wherever they want, it's supposed to evoke that natural feeling of peace, whether you're in your lounge, your car, with friends, or even in the club. It's supposed to depict that type of energy, and that's why I called it that.

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You released a number of singles before the album dropped that gave us a different glimpse of what to expect. How did you choose the singles you wanted to lead with?

In terms of why I chose the singles, I wasn't thinking about the process of choosing them strategically. It was just about the feeling at the time. The first record was with Odeal, Hold You Down, which was like springtime when we dropped it, gearing up for summer. Summertime is when people want to be outside, find love, or spend time with their loved ones. That record speaks to that in a very intimate way. The record with JayO was strictly for summer because of the tempo—it gets everybody dancing and feeling good. You know, having a great time in Malta during the summer was what that track depicted. Perspective was also dropped in the summer, but around that time, summer started to simmer down a bit; even though it was dropped a little before Carnival, it was meant to create a soundtrack for summer at sunset or sunrise. It's the type of record you'd play when things are calming down. The message also speaks about how we see things from different perspectives, specifically from our travels and culture. The Black Sherif and Projexx song was me wanting to put out a record that represented many of the roots that I come from and relate to, which is Ghanaian highlife and Caribbean music, like reggae, by way of collaboration with Projexx. That's how I went with the music—I wanted it to give an impression of what the album would sound like. But when people listen to the album fully, there may be some surprises or pleasant surprises regarding collaborations with the people on the album.

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What is the process of choosing your collaborators, especially for this project?

When I'm making music, I make a lot of beats just for the fun of it. Then, when I have the beat to a certain level, I think about what I want the message to be. I'm not necessarily thinking about the artist there and then. However, whenever I work on a project, I have a whiteboard of artists I would love to work with. Most of the time, they are artists I am a massive fan of, and they've also been fans of me. For example, Odeal and I wanted to work together for a while, but something always came up whenever it was supposed to happen. However, we finally managed to lock in and create some amazing music, and we still have a lot of stuff in the stash. JayO—I'm just very fond of him as an artist. Masego—people have been screaming for a Juls and Masego collaboration for years. I've seen the tweets. With Black Sherif, it was more personal in terms of being from Ghana. Many of us are trying to fly the flag high because so many of us are doing amazing things, but we're trying to cross over to the levels our peers in Nigeria and South Africa are reaching. There's Amaarae, King Promise, Sarkodie, Stonebwoy, myself, and even here in the UK—J5, NSG, who have some Ghanaian members. That's how I approached it. I wanted a good blend of artists from different parts of the world, but I feel like with this album, I tapped into some very alternative acts from the UK, which I haven't done as prominently before, apart from maybe on my Colour mixtape. This time, I made it more intentional, having Wretch, Odeal, JayO, Ghetts, Jaz Karis, Miraa May, SamRecks, Tendai, Unknown T, Kali Claire, and Louis Rei from WSTRN on there. I wanted to bring in different demographics and incorporate them into my world of sound.

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How would you describe the album's sound for anyone who has yet to press play on the album and hasn't already done so? 

This album will still have the feel of summer. Unfortunately, I've never been able to release an album at the right time, where I feel the music should sit, which is summer. But this album can go onto different summers and is perfect for holidays. When people go on holiday, they can put on a Juls album or my discography, which will take them there. You can expect a lot of those vibes on this album. I'm also tapping more into my up-tempo side, getting people dancing more, and that's the journey I'm taking forward after this album. I'm also collaborating and producing many more cuts for other artists. So, yeah, this album embodies different vibes and sounds, but they still scream summer, hot weather, good energy, and good vibes.

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With this album, you take us all around the world in terms of the sounds and sonic profiles you have on it. Tell us about how travelling and being able to create in different places has impacted the creative process of making it.

Travelling to different parts of the world opened my ears to different sounds and how some sound similar to the music I've grown up on. Going to Brazil, I listened to many Bossa Nova and Baile Funk. You know, Bossa Nova is something I unintentionally caught onto through jazz music because my dad has a massive jazz collection and a lot of Quincy Jones records. Quincy tapped into a lot of Bossa Nova as well. Jamaica is one of my favourite places in the world— a lot of my music is heavily inspired by reggae and dancehall. So, it's always important for me to make sure that my collaborations are authentic, and I'm constantly collaborating with people from that side of town on those types of beats. I don't want to come off as appropriating, and I also add my own Juls flavour to it so it sounds like me, but people from different cultures can relate to it. That's why I like to travel a lot, to experience different cultures, see how they relate to one another, compare them to mine, and learn things along the way. All of those experiences influence how I make my music, and that's how this album came about. This album was made in different parts of the world, specifically Brazil, Jamaica, Ghana, the States, and the UK. Even going to South Africa a couple of times and connecting with some of the big Amapiano acts, mixing my flavours with theirs.

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We've seen you having fun in the visual, showcasing the vibe and feel of the music and album. You've also teased a film. So, what can we expect?

I can't say much, but we are working on a special film to bring the album to life. This will entail how the album was made alongside some very interesting musical pieces and some of the acts, among other things, but I don't want to give away too much.

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How does this moment feel, having just dropped the new album and celebrating that you've been in the game for 10 years as an artist?

With this album, I didn't know what to expect. But a lot of blood, sweat, and tears have gone into it, and I believe it will be the beginning of a new era: the next ten years of Juls making music! I can't wait for people to see that side. Over the last ten years, I've created an amazing catalogue that many people haven't even dug into yet. So, when I start this new chapter, I'll have a strong musical legacy that will live forever, and I'm quite excited about that.

CREDITS

Photographer - Gold Owolabi @golld.au

Creative Director & Producer - Seneo Mwamba @seneomwamba

Lighting - Bruno Nnadi @risquesociety

Stylist - Danette Pokoo-Powell @danettepowell_stylist

MUA / Groom - Carly Corrine @carlycorrinemua

Creative Assistant - Whitney sanni @its.whit_

Journalist - Seneo Mwamba @seneomwamba

PR - Twelfth House @twelfthhouse_co

Look 1

Kwaku Joseph - @kwakujospehbrand 

Mvc jewellery  - @Mvc.customjewellery

Look 2 

Kwaku Joseph @kwakujosephbrand 

Miss Tee collections - jewellery @misstee_collections

Look 3

Labrum @labrumlondon 

Custom hat by @its.whit_ & @danettepowell_stylist

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As a creative professional in the music industry, maintaining control over your artistic vision is absolutely crucial to your success and fulfillment. Whether you're a songwriter, musician, producer, or artist, your unique creative perspective is the lifeblood of your work - and it's what sets you apart in an incredibly competitive landscape.

The music industry is notorious for attempting to exert control over its creatives, whether it's record labels dictating the direction of an album or executives meddling in the creative process. However, the artists and songwriters who are able to guard their creative autonomy are often the ones who enjoy the most sustainable, impactful, and rewarding careers.

Here's why creative control is so vital for music industry creatives:

Preserving Your Artistic Integrity: When you relinquish control over your creative output, you risk compromising the very essence of your work. The songs, sounds, and artistic statements you produce are an extension of your unique identity as an artist. Allowing external forces to dictate your creative decisions can dilute or distort that identity, leaving you feeling creatively unfulfilled and disconnected from your own work.

Standing Out in a Crowded Market: In an industry that's saturated with homogenized, focus-group-tested content, maintaining a strong, differentiated creative vision is one of the best ways to make your mark. Fans and listeners are craving authenticity more than ever - they want to connect with artists who are uncompromisingly true to themselves. Guarding your creative control allows you to develop a sound, style, and artistic persona that is distinctly your own.

Longevity and Creative Sustainability: The artists who enjoy the most enduring careers are often those who have fought to retain creative autonomy throughout their lives. When you have the freedom to evolve organically as an artist, you're able to maintain a sense of passion and fulfillment in your work. This protects you from burnout and gives you the stamina to keep creating at a high level for decades.

Leveraging Your Unique Perspective: As a creative professional, your most valuable asset is your singular point of view. The music industry is filled with gatekeepers and decision-makers who may not fully understand or appreciate your creative vision. By holding firm to your creative control, you're able to share your perspective with the world on your own terms - which can lead to immensely rewarding opportunities and accolades.

Ultimately, creative control isn't just about exercising your rights as an artist - it's about honoring the very essence of what you do. In an industry that can be fickle, ruthless, and creatively stifling, guarding your creative autonomy is one of the most important investments you can make in your long-term career and fulfillment as a music industry creative.

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In today’s highly competitive music industry, creating a hit song is just the beginning. Effective marketing is essential to bringing that song to listeners worldwide. Beyond just releasing music, artists need a well-rounded promotional strategy that engages fans, garners visibility, and ultimately drives success. In this article, we’ll explore the importance of music marketing, the role it plays in a song’s success, and how strategic marketing can elevate a track to the top of the charts.

Why Marketing is Crucial for Music Success

The music industry is saturated with new releases daily, making it challenging for any single song to stand out. This is where effective music marketing comes in. It provides artists with the tools to break through the noise and directly reach their audience. Marketing amplifies a song’s presence across multiple platforms, using tactics like social media promotion, playlist placement, and influencer partnerships to generate buzz.

Marketing also helps build an artist’s brand. A song that aligns with an artist’s image strengthens their identity, which is vital for fan loyalty and long-term success. Well-designed campaigns target the right listeners, connecting the song to those who are most likely to engage with it. Without marketing, even the most beautifully crafted song may go unnoticed, regardless of its potential.

Key Roles Marketing Plays in a Song’s Success

Audience Engagement and Building a Fanbase: Marketing engages audiences by creating a connection between the artist and the listener. Social media platforms such as Instagram, TikTok, and Twitter allow artists to interact directly with their fans, making the music experience more personal. Marketing campaigns that encourage user-generated content, challenges, and contests make fans feel involved in the journey of a song, turning them into loyal supporters.

Cutting Through the Noise: With an ever-growing number of musical acts and releases, the music industry has become increasingly saturated. This saturation makes it challenging for individual artists to stand out and capture the attention of their target audience. Effective marketing enables artists to cut through the noise and reach potential listeners, fostering brand awareness and recognition.

Expanding Reach through Digital Platforms: Streaming platforms like Spotify, Apple Music, and YouTube play a massive role in modern music consumption. By targeting playlists, featured placements, and algorithmic recommendations, effective music marketing ensures a song reaches wider audiences. Playlist promotion, in particular, can introduce the song to millions of listeners worldwide, accelerating its climb in the streaming charts.

Boosting Brand Recognition: Consistent and cohesive marketing efforts help artists build a distinct brand identity, which can be a powerful asset in the music industry. A well-crafted brand, coupled with strategic marketing, can foster long-term loyalty and recognition among fans, ultimately contributing to the artist's overall success.

Harnessing Analytics and Data: Marketing isn’t just about creativity—it’s about data, too. Analyzing streaming statistics, social media engagement, and audience demographics allows marketing teams to understand what’s working and where improvements are needed. This data-driven approach fine-tunes campaigns, ensuring that marketing dollars are spent effectively to maximize song visibility.

Increasing Revenue Opportunities: A well-marketed song doesn’t just gain listeners; it also generates revenue. Increased streams, downloads, and ticket sales for live performances are some of the financial benefits of successful marketing. Merchandise sales, brand partnerships, and licensing deals often follow a song’s popularity, creating multiple income streams that benefit both the artist and the team behind them.

In conclusion, effective marketing is the engine that drives a song to success. In a constantly evolving industry, strategic music marketing efforts—whether through social media, playlist placements, or influencer partnerships—are essential to ensure that a song reaches its intended audience. From brand building to fan engagement, marketing plays an irreplaceable role in maximizing the potential of each release. For any artist or music professional, understanding the significance of marketing and embracing its possibilities is critical to making music that not only resonates but endures.

The phrase “joined at the hip” often describes the closeness between people, whether siblings or lifelong friends. This bond, the ability to stay connected through life’s highs, lows, and challenges, makes the journey more bearable. For twin brothers Banele and Bandile Mbere, known as Major League Djz, embarking on their journey in the music world together was a natural choice. “We’ve always worked together with everything. We started being promoters in high school, and then we grew into bigger promoters,” they explain. They’ve evolved into major players in the Amapiano music scene since their early days as high school promoters. DJing became a part of their path right after high school, leading to a decade-long career that has made them prominent figures in Amapiano.

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The Major League sound isn’t typical Amapiano. Known as “Piano Fusion,” it blends influences from a variety of genres. “We’ve been influenced by a lot of different music and many different cultures as well. We’ve travelled a lot in our lives, and with our sound, we just take all the music we’ve heard and bring it into what we do,” they share. This approach has propelled them to the forefront of the Amapiano movement, making their sound unique among other artists representing the genre.

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Their initial venture into music was through a sound they coined “New Age Kwaito.” It drew from the original Kwaito genre, creating a more hip-hop-based variant that resonated with South African Hip-Hop influences. Through each evolution of their sound, they’ve infused elements of local culture, blending vocals, dialects, and rhythms from different backgrounds. “We were rapping in vernacular vocals, mixing it with English, and bringing in the local kasi culture of South Africa. From there, we transitioned into Amapiano, which is a sub-genre of Kwaito. So, it’s been a continuous build from what we started to where we are now,” they explain.

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Today, Major League Djz have reached global audiences, thanks to their consistency and collaboration with artists worldwide. Their adaptability in blending genres has been key to their success. “The collaboration process is not hard because it organically happens in the sound. Collaborating is a big part of the scene; we’ve been doing it for a long time. Working with artists who have the right energy and synergy is what we’re focused on,” they say. This collaborative spirit has led to numerous hit songs, enhancing their role as influential DJs and producers in the industry.

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Their latest release, “One Of Them,” featuring UK rapper Tion Wayne, continues their successful year. This year has seen them work with big names like Wiz Khalifa on “Mine For The Night,” Victony on “Margaret,” and join forces with Stefflon Don Brooklyn rapper Fivio Foreign on “Big Fat Machine”. Their collaboration with Tion Wayne was effortless and authentic. “We just linked up in the studio. It happened organically, and he was already listening to Amapiano, so he understood the vibe and brought his style to it,” they say. When they debuted the track at their Balcony Mix Crystal Palace show over the summer, the crowd’s enthusiastic response showed they had hit the mark.

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Their success in the UK is unsurprising, with a sold-out show at the Iconic Brixton O2 Academy, a four-week sold-out residency at The Outernet and closing the Piano People’s 2023 Festival at Drumsheds. Their Balcony Mix outdoor show drew their largest crowd yet in the UK, a testament to their growing presence internationally. Reflecting on the UK’s Amapiano scene, they note, “It’s been amazing seeing the growth. Our shows have gone from indoor venues to outdoor events, marking a significant moment for Amapiano.” Events like Piano People’s inaugural outdoor festival and their own Balcony Mix Crystal Palace Bowl show underline the UK’s rising appetite for Amapiano, with Major League Djz playing a pivotal role.

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Balcony Mix Africa, their platform, has allowed them to reach beyond Amapiano, highlighting diverse African sounds. Started in early 2020, just before the pandemic, Balcony Mix Africa brought virtual music experiences to people confined at home, showcasing various dance genres. “It just started on our balcony, with us listening to music, showing different vibes, dances, and influences from the genre. We collaborate with some of the biggest pioneers of the sound to show its different sides. It’s a bridge to showcase what’s happening with the sound globally,” they explain. Since its inception, Balcony Mix Africa has expanded internationally, with the UK as one of many stops in their global journey. Their mission remains clear: to share African music culture with the world. “Balcony Mix is a platform for the cultural experience of Amapiano. We wanted to capture and share the sound’s essence so people can connect with the culture that birthed this music.”

Their bond as brothers shines through in their live performances, where their mutual energy and understanding are palpable. “It’s dope. We don’t know anything else for us but to be together. We’ve always worked side by side, supporting and pushing each other,” they say. Their musical connection allows them to carry one another in their sets, strengthening the Major League Djz sound.

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With all they’ve achieved, Major League DJz are only gaining momentum. They focus on building international bridges for Amapiano and exploring new territories and sounds. “We’re just building bridges for our music to reach new places. We’re dropping a lot of international features and singles, building tier by tier. When it all makes sense, we’ll release the EP,” they hint. As the year continues, it’s clear that Major League DJz are evolving and committed to pushing Amapiano into new realms and redefining traditional musical boundaries.

CREDITS

Creative Directors - Jessica Ross @jessicaelizaross, Seneo Mwamba @seneomwamba, Zekaria Al-Bostani @zek.snaps

Photographer - Jessica Ross @jessicaelizaross

Producer - Seneo Mwamba @seneomwamba

Gaffer - Nathan Ford @nathan.t.ford

Grooming - Carly Corrine @carlycorrinemua

Styling agency - jendaya @jendaya

Stylist - Jay Tagle @jayytagle

Styling Assistant - Taylan Holness @taylan.holness

Design - @deeds.studio (@dianeadanna)

Studio - Kimber Studio @kimberstudio_

Management - Zinitha Ntanjana @zinithacaprilad

Interviewer - Seneo Mwamba @SeneoMwamba

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When you think of Afrobeats, you think of energy, authenticity, and connection—all of which DJ Enimoney has made his trademark. The YBNL Nation DJ, best known for his electrifying live sets and music production, has turned his passion for Lagos nightlife into something truly special with Big Man’s Party.  What began as a local celebration in Lagos has grown into a global movement, drawing DJs, artists, and fans together across continents, all united by the spirit of Afrobeats. In this exclusive interview with Deeds Magazine, DJ Enimoney shares how an idea sparked in the heart of Lagos has become a global platform for connection, inspiration, and the future of taking Afrobeats global.

Deeds Magazine: What inspired you to start Big Man's Party, and how did it all come together initially?

DJ Enimoney: BigMan’s Party was inspired straight from the pulse of Lagos nightlife—where the energy is unmatched, and every night tells a different story. When you're in a Lagos club, you feel the blend of old-school classics mixed with the hottest new tracks, creating this incredible vibe that’s both nostalgic and fresh. That fusion, that vibe of mixing eras, is what BigMan’s Party is all about. In Lagos, it’s more than just the music; it’s about the people, their style, and that effortless mix of urban street with upscale chic. From the way people show up, dressed in everything from streetwear to sharp, polished fits, to how they move to the beat—it’s that Lagos essence. We say "normal Lagos thing" because it’s a way of life here, a culture that’s all about high energy, connection, and a love for great music. And that’s exactly what I wanted to capture with BigMan’s Party.

Deeds Magazine: How did you come up with the name Big Man Party? Why choose "Big Man" instead of any other name?

DJ Enimoney: Big Man, yeah, that name Big Man is like a gift from God. You know, I just woke up one day and that name just came to my head—Big Man, you get me. I said to myself, you know, this has got to be my brand.

Deeds Magazine: You've taken Big Man Party to the UK and have plans to expand further. How do you adapt the event for international audiences while keeping its authentic Afrobeats spirit?

DJ Enimoney: Taking BigMan’s Party to the UK has been an amazing journey, and adapting the event for a UK audience while keeping the authentic Afrobeats spirit is all about blending the vibrant energy of Lagos with the unique cultural vibe of the UK. Afrobeats has become a global force, and the UK has a strong connection to African music, so the challenge is in bringing that Lagos energy to life while resonating with the local crowd. In the UK, we keep the core of BMP—Afrobeats and the high-energy vibes—while incorporating elements that speak to the UK’s diverse music scene. We collaborate with local DJs, artists, and influencers who know how to blend the best of both worlds, seamlessly mixing Afrobeats with genres that UK audiences love, like grime, dancehall, amapiano, and hip-hop. The music is always the heart of BMP, but we make sure to infuse the UK’s unique flavor, whether it's through special guest appearances or collaborations with UK-based DJs.

Deeds Magazine: Afrobeat is gaining popularity worldwide. How can we ensure that the culture itself is respected and preserved as it reaches new audiences through your work and by taking these events to different cities?

DJ Enimoney: The Afrobeat culture, yeah, like you said, yeah, Afrobeat is everywhere, trust me on that. The only thing we just need to do is to just keep our thing, own it, like properly, don't let nobody take it from us, yeah. Same, we don't make any mistakes. There are gonna be mistakes, you know, but let's just make sure that the mistake we made, yeah, the mistake we're making, yeah, we're not letting people see our mistakes— you get what I'm saying. That's the only way we can get respect from people. Once they're not seeing our mistakes, you get what I'm saying, we can get loads of respect from people outside the genre.

Deeds Magazine: You mentioned that building a sense of community is important to you. Does Big Man Party also serve as a hub for DJs and music lovers to connect and celebrate the culture?

DJ Enimoney: Creating a sense of community is at the core of BigMan’s Party, and it’s one of the things that makes the event so special. It’s not just about the music—it’s about bringing people together to celebrate the culture, connect with one another, and create a vibe where everyone feels like they belong. Each episode of BigMan’s Party features 2-3 DJs that I truly respect and love their sound. I’ve always believed in highlighting talent that has something unique to offer, and through BMP, I get to showcase these amazing DJs to the world. These aren’t just the hottest names in Afrobeats, but DJs who are pushing boundaries, mixing genres, and creating new sounds that represent the future of the culture. By bringing together these DJs from different corners of the scene, we create a platform where both emerging and established talents can share their sounds with a broader audience, while also celebrating the diversity within Afrobeats. The event becomes a space where music lovers from all walks of life come together to enjoy the beats, connect with the artists behind the music, and vibe with each other in a space that feels like home—whether you’re a long-time Afrobeats fan or just discovering the culture. BMP is all about the community—the DJs, the team, the fans, the dancers, the fashion, and the energy. It’s where everyone can celebrate the music and culture we love, share experiences, and make memories together.

Deeds Magazine: With Big Man’s Party growing into a movement, how do you ensure it remains a platform for community and culture, rather than just a party?

DJ Enimoney: As BigMan’s Party grows into a movement, it’s essential for me to keep it grounded in community and culture, not just as a party but as a space for connection and growth. The heart of BMP is all about celebrating Afrobeats, but it’s also about creating opportunities for fans and artists to engage, learn, and share in the journey. The team and I invite our BMP family to exclusive events outside of the regular parties—like intimate artist listening sessions, cultural meet-ups, and even workshops. These spaces allow us to build deeper connections and share more than just music. Additionally, we’re running community-only groups on social platforms, where fans can connect, share experiences, and exchange ideas about Afrobeats and the culture. These groups are more than just a fan space—they’re a place for real conversations and support, where we can keep the energy alive and continue to grow as a community.

Deeds Magazine: How do you measure success in your career beyond fame and reach, especially when it comes to your impact on fans and the Afrobeats industry?

DJ Enimoney: Success to me, it's what I've done. I've done so many things, I can come today and say, it's me that did this, it's me that did that, you get me? Without work, without you doing anything, they can't say you're successful. You have to have an impact on the industry or society before they can say you're successful in what you're doing.

Deeds Magazine: What are your plans for Big Man's Party in the near future, including next year and this December period?

DJ Enimoney: We’ve got a lot coming for BigMan’s Party, and honestly, I’m super excited about what’s on the horizon. There are some major expansions in the works, and I can’t wait to share them with you all. But here’s the thing—it’s all a surprise for now. I want to keep some things under wraps because I believe in giving my fans those unexpected, unforgettable moments. What I can promise is that as we grow, we’re bringing even more unique elements to the party—whether it’s new collaborations, special performances, or fresh ways to experience the culture, you can expect BMP to continue pushing boundaries and staying true to the vibe that makes it so special. So stay tuned, because trust me, you won’t want to miss what’s coming next!

Deeds Magazine: What can we expect next from Big Man’s Party? Which cities are you visiting next?

DJ Enimoney: The world is my oyster, and while we’re excited about the growth of BigMan’s Party, I always prioritize quality over quantity. So, whatever city we hit next, know that it’s all about making sure every experience is special and tailored to the audience. We’re not just about expanding for the sake of it—we’re focused on creating memorable moments, building authentic connections, and celebrating the culture with passion and energy. This December, we're heading back to where it all began in Lagos, bringing that homegrown energy back to the heart of the scene. And come the top of next year, we’ll be conquering the UK, city by city. But it’s not just about adding cities to the list—each one will be an important stop, and we’ll make sure that wherever we go, every crowd feels valued and part of the BMP family. So stay tuned because the best is yet to come!

DJ Enimoney’s passion for Afrobeats and the Lagos nightlife experience has not only shaped Big Man’s Party but also redefined it as a cultural movement with a global reach. As he continues to expand the party across borders, Enimoney remains committed to preserving the essence of Afrobeats while creating spaces for connection and community. Whether it’s bringing a slice of Lagos to the UK or building a new fan base in a different continent, DJ Enimoney’s vision is clear: Afrobeats is here to stay, and Big Man’s Party is just getting started.

CREDITS

Producer: @iamdreameruk

Creative Direction: @thepikture

Photographer: @thepikture

Photography Assistant :@kene_madu

Design: @deeds.studio (@dianeadanna & @shalemalone)

Interview: @deeds.studio (@lanacreatesss & @xdeoye)

BTS: @delano.therapy

Lights: @iamdreameruk

Stylist: @guellorcanza x @amaechi_godwin_

Management: @kobra.culture

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Nigerian-born artist Ta Liebe, also known as Hamzat Talib, has released his highly anticipated sophomore EP, Absent Mind. This deeply personal project captures his evolution from childhood innocence to self-realization, exploring significant moments of pain, growth, and acceptance. Blending Afrofusion sounds with introspective storytelling, Ta Liebe takes listeners on a journey through the transformative experiences that have shaped him.

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Reflecting on his journey, Ta Liebe describes Absent Mind as a record of personal growth: “This project marks a major change for me, a time of facing my own shortcomings and learning from my past. It’s a collection of experiences from my childhood through my early 20s, all of which have helped me understand who I am today.” Through this EP, Ta Liebe delves into universally relatable themes of self-discovery, inviting listeners to resonate with his reflections on life and love.

The title, Absent Mind, emerged during a period of deep introspection, capturing his experience of coming to terms with feeling disconnected and finding clarity within himself. Each track encapsulates a distinct moment in this journey, as Ta Liebe explains, “It’s about finding awareness after feeling lost. Each song represents an awakening, a moment of realization that’s contributed to my growth.”

Released in January 2024, this sophomore EP marks the third project of Ta Liebe’s impressive career so far.

The EP’s five tracks span a range of emotions and themes. “Fall” and “Anything” offer guidance and resilience, reflecting his relationship with God and his journey of self-acceptance. “Advil” recounts the challenges of balancing love with a fast-paced lifestyle, while “BADA” explores the bittersweet nature of longing for a lost love. The upbeat “Ding Dong” captures the carefree joy of youth, embracing moments of freedom and connection.

Absent Mind also features collaborations with notable artists like Erigga, Magnito, and Major Bangz, who bring their unique styles to enrich Ta Liebe’s sound. To connect with fans, he is promoting the EP through social media campaigns, exclusive events, and even NFTs.

“With each track, I want fans to feel the emotions and understand the journey that led me here,” Ta Liebe explains. Absent Mind is a testament to his growth and passion, inviting fans to connect deeply with his story through soulful Afrofusion rhythms.

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Incredible scenes were set as Doechii took the stage at the first of her two-night stop in London as part of her Alligator Bites Never Heal Tour. Playing a sold-out show at Islington Academy Hall, the singer delivered an electrifying set that was powerful and fueled by energy and performance that had the audience going from start to finish.

The air was charged with anticipation as the audience awaited Doechii's arrival on stage. DJ MissMilan set the tone for the night with an hour-long set that had everyone on their feet. Even the security's attempts to get people to sit on the balcony level were met with resistance, adding to the excitement in the air.

Once the Florida native arrived on stage to a swamp-like setting that matched the aesthetic of her mixtape, she wasted no time getting right into the album's vibes. Opening with BOOM BAP, she delivered a series of back-to-back raps and tracks that lifted the songs in every sense. 

Doechii's artistry is a unique blend of melodic raps, playful flows, and intricate wordplay. Her songs like Yucky Blucky Fruitcake, Crazy, Persuasion, and What It Is have had viral moments, showcasing the continuous strength of her artistic ability. But when you listen to the mixtape, you truly understand the depth of her talent. The 19-track mixtape effortlessly showcases Doechii's range, telling stories of her struggles with newfound fame and vulnerability when speaking about her experiences over the past few years.

Putting those onto the stage with nothing but a DJ accompanying her, Doechii showed that you can give a lot even with very little. The debut tour sold out within minutes, and the evidence of two sold-out shows in London is proof of her potential and the star power she already has and is well on the way to continuing to the building. 

Her set was delivered from top to bottom throughout the hour-long setlist. Standout moments included BOOM BAP, which was an incredible tone-stater to the show before going into tracks like DENIAL IS A RIVER, Pro Freak, Persuasive, Stressed, PROFIT, HUH, and Alter EGO before ending with the album title ALLIGATOR BITES NEVER HEAL.

Overall, Doechii delivered a world-class performance that left the audience buzzing with energy. The crowd's reaction, from the first note to the last, was a testament to the power of her live performance, which for her first debut tour is a statement. After being met with the vibes and the energy, it was a sensational space to be in and certainly made for a Sunday evening well spent. 

When one looks at Neila's profile, it is undeniable that she is an artist who exudes creativity from top to bottom. The pop of colour throughout her artistic expression and the hyper glam and energy you get from what you see is just one part of her creative identity. 

Neila is not just a singer and songwriter who blends R&B and pop. She is a versatile, multidisciplinary artist who serves as a creative director and stylist, among other things. Her versatility keeps her audience intrigued and excited about her next project. 

Amidst the vibrant colours, a profound vulnerability resonates when you press play. On her latest EP, SCARS, released earlier this year, Neila delves into themes of loss, love, and a journey of inner transformation she has embarked on throughout the year. This journey of self-discovery is not just Neila's, but a source of inspiration for her audience.

Speaking to Neila, we touch on everything from her creative expression, making music, creative inspiration, her brand new EP, and more.

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For people who don't know, how would you introduce yourself,

That's always an interesting question because I'm very multi-faceted; I am first a daughter, a sister, and an auntie. I'm also a singer-songwriter. People would probably put my music into an R&B category, but I do genre-bending; it leans more towards Pop and R&B as a mix. I'm the product of two immigrants. My dad is from Jamaica, and my mom is from Barbados. I'm a multi-faceted artist and singer-songwriter with Caribbean roots.

Being multi-faceted, what would you say have been the roots of your creativity and where that expression began for you?

 I've always been super creative. I've also always known that I wanted to pursue a career as a recording artist since I could speak. I've been on this creative journey as a singer, songwriter, visual artist, creative director, stylist, and everything else. So those things trailed after I realized from a very young age that I wanted to be a singer. I wanted to be on these big stages and perform for thousands of people I've known. Then, the songwriting, the creative directing, the styling- that stuff- came as an extension of wanting to be a recording artist. My parents are super awesome. People usually think of Caribbean or immigrant parents as, like, very strict, but my parents have been one of the biggest driving forces behind why I've even pursued music. So yeah, my whole life, honestly, and I owe a lot of it to my parents, not shutting down my dreams, not showing down my passions, but honestly, pushing me towards doing it.

Who would you say were some of your musical influences?

 I am inspired by, like, a melting pot of artists. I've always loved the Beatles. In middle school, I discovered the Beatles and Jimi Hendrix, and I was involved in learning about Michael Jackson. My mom was a huge Michael Jackson fan, so I got into super old Michael Jackson in middle school. Their freedom and expression have always been a big part of what inspired me. And then the visualization of how they express themselves visually as artists, Jimi Hendrix and his look was like a whole thing, you know, I'm saying like to this day, like people still emulate Jimi Hendrix and how he looks. The Beatles ' self-expression was very colourful, very vibrant, very psychedelic. Michael Jackson is one of the best visual artists we will ever have. So, that started in middle school for me. Then, as time passed, people like Pharrell, Missy Elliot, Tyler The Creator, and people like that have always been sources of inspiration, musically and fashion-wise. I love how they are themselves, blending so many different genres. You can't put any of those people into a box. And they're like little creative geniuses, like on their own.

How did you come to establish and discover your sound and the hybrid of music you would make?

 It took me a while because I am a songwriter, so naturally, I can write almost anything. I was doing that for a while, just like writing to everything. I started to hone in on that, like the sweet spot for me, in 2021 and 2022, and then the project I dropped that felt the most like me authentically was my project. Bite me. And we worked on that for a few years prior. So it was like finding it there, and then with this newer project, Scar kind of like a blend of that, with me being more emotional, a little bit darker in certain aspects. But, yeah, it took me some time.  Many songwriters can write many different things, but not everything is for them.

With your EP Bite Me, which you released last year, and Scars, which came out this year, how do both these projects represent the different sides of your artistry?

Visually, I'm a very colourful person; extra is extra, more is more, and that's my visual aesthetic type. I like the theatrics, like the storytelling, and with my music, with Bite Me and SCARS, I started telling more, taking that visual aspect of me, telling stories, and putting it in the music. I like my beats to hit hard, and I do like 808s, and that's not common in R&B; I like to be cheeky in my lyrics; I have a very pop way of writing, which is a little bit more straightforward and a little bit more play on words. I feel like R&B is very soft sometimes, and I don't always feel that way; I don't feel soft like I do feel like banging on a desk and screaming sometimes. So I think that once I allowed myself to get out of the mind of you're an R&B singer, you have to sing R&B like how everyone sings R&B, I started being more like myself, and that's when my Missy Elliot vibes came in and listening to Pharrell Destiny's Child and it was like, oh, this is fun this feels good. I have a very defiant personality, in the essence of I don't like people telling me what to do. I don't like people trying to control my body and my mind, and everybody should have autonomy over every single part of their life. So that's what my music reflects more now, as I started feeling more confident and not like trying to fit some R&B mould. I just started doing what I liked, what felt good, and what felt more like me. That's where the music and my aesthetic started to match up more.

Speaking of your visual aesthetic, it's a prominent part of your artistry and stands out firmly, even in establishing that aesthetic and building that side of things. Could you elaborate on how you came to create this aesthetic to go with your music? What was the process like and how does it complement your music?

I've always been super attracted to colour, colour extraness, just things that are bold and different. I'm very organized in thinking about things and viewing things, so I made a mood board of what I wanted Neila to look like. Neila is not my birth name; it's alien spelt backwards, so for me, it was like, I get to imagine exactly how I want to look. Like, this is beautiful, this is so cool and so fun. It was like I was building myself in The Sims right now. So I sat down and just made a mood board and put whatever felt good to me on the board. I've always had a powerful sense of self, and that helps me a lot, too, because I don't lean towards what other people are doing or what is trendy; I lean towards what feels good for me. To this day, I make mood boards whenever I have a concept for a project or anything. I make a mood board, and I put things together.

Where do you get your inspiration from?

A lot of my inspiration and ideas come from downloads. My family's very spiritual, and I  grew up knowing how to cleanse the space with incense and stuff like that. So, as an adult, I got into meditation and stuff like that, and I honestly get downloads. A lot of the times I'll pray about something, I'll ask, or like, pray out loud, and it'll just come to me. Visually, when stuff does come to me, I get like, kind of like a vision or an image in my mind and from there, I either draw it out kind of have the image kind out of my mind, and then from there, I'll go searching for real-life images so whether that be on Pinterest which is the only thing I use as far as visual mood board kind of things. But I often like to draw them out, and then again, I also like music videos. I love the early 2000s  and how expressive everyone was. Like Buster Rhymes, Ludacris, and Missy Elliot, again, always Pharell visually. I'll sit down and watch, like, hella of their music video over and repeatedly. So that's kind of how I think I pull in my inspiration.

Speaking on the EP SCARS you put out earlier this year, what would you say it represents about where you are on your journey?

So SCARS came out earlier this year towards the end of summer, and it has five songs, which we released as one song a month. Last November, right while working on the project, my great-grandmother died. She was 96, and even though we knew it was coming, it wrecked my family in a way that I'd never experienced. Like I've never experienced a loss that close in any way. I had the project title before that happened, and when that happened, it felt like everything aligned more. I had a thesis statement that I make for every project for this one; it was that on our journey through life, people, places, and experiences leave their marks on us, and those are the scars we carry. And one mark or one scar we all have is losing somebody. So I found myself related so much more to the project after that loss, and some of the songs like 'Needle and Thread' ended up morphing into something more about, like, the loss of a romantic relationship. But I started writing that after driving back from Florida to Atlanta with my boyfriend, like in the car after her funeral and stuff.

How would you say you had changed from when you first started doing the project to where you are now and everything that has happened since then?

When I dropped Bite Me, the last EP last year, I was very much a bang-on-the-table person. Like, you're not going to disrespect me fuck you type of vibe, that's my personality. I don't like people doing wrong things to people, and so that's very much the space I was in, and I went from being this little angry person who was always like fuck you, to be more like, okay, it's time to heal. I realized that you don't have to say fuck you to everybody, and everything doesn't have to be a fuck type of situation. And, with my grandmother passing away, I think that I still have my edge, and I'm still a very sharp knife, but I don't think the knife needs to be brought out all the time. I am in a healing process and a healing space, and I am just looking at life as being more like, okay, not everything has to be a fight. You're not going to war with everything; these things happen. Somebody can 100% piss you off, but you don't have always to cut them up. And that's where I am now, even working on music; now I'm trying to figure out where I feel where I am because I may fuck your music for a long time. So I think finding out what that sounds like for me, lyrically, and how that feels for me now is different. So, I'm in a transitional stage because I'm no longer the angry person I am.

For people listening to this project for the first time, what do you want them to get from it?

With the project, what I want people to take away is that everyone you come across has experienced something that has left its mark on them. Understanding of cheating everybody, it's easier. We're all healing from something, such as a significant visual aspect of the project; the visuals were band-aids. And when you see a band-aid, you know something is healing underneath it. You know there's a cut, a bruise, a mark, or whatever is healing underneath that band-aid, and we all are healing something. So, I want whoever listens to the project to take it away. It's very quirky. I'm very quirky lyrically, but it's more tells a story about the things that you come along throughout life you pick up these scars from, but I think overall, it is a project about healing, and we all are healing in some way, shape or another.

What are you looking forward to next, having dropped the project? 

I am going on tour, performing more, performing these songs more, seeing how people interact with them in real life, and being able to travel and share my music with people who may be hearing it for the first time. Also, I want to meet fans in real life and hear their stories because being an artist is ultimately a service industry, like we're making music. I know that music has changed my life because of the artists I listen to. Suppose I could positively impact anybody's life. In that case, I'm doing something positive, and so travelling and being able to perform my songs for people and see them in real life, like impacting somebody positively. That's what I'm looking forward to the most.

CREDITS:

Photographer: BANVOA (@banvoa)

Creative Directors: Neila and BANVOA (@neilaofficial and @banvoa)

Graphic Designs: BANVOA (@banvoa)

Makeup Artist: Tatiana Kazana (@tatianakazana)

Hair Stylist: Eboni Wallace (@ebthebeautyplug)

Styling: Neila (@neilaofficial)

Model Coach: Inari Briana (@inaribriana)

Lighting: Inari Briana (@inaribriana)

Interview: Seneo Mwamba (@seneomwamba) 

Special thanks to Tre Native for the location - (@trenative).

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24th October, 2024 – JD Sports, the leading retailer for sports, fashion, and lifestyle brands is excited to announce the exclusive release of Central Cee’s debut shoe collaboration with Nike: the Syna World x Nike Air Max 95.

Marking the inaugural launch of Central Cee’s close relationship with Nike, the modern-day UK rap icon has partnered with the sportswear giant to create a striking new version of the cult classic Air Max 95 and Nike TechFleece, bringing it exclusively to JD customers. A beloved sneaker and staple in the Air Max family, the design has remained a constant since launching in 1995. Originally inspired by two distinct ideas, the iconic tiered body resembling land being worn by the elements, paired with the complexity of the human body with the shoes’ outsole and heel taking shapely inspiration from the spine. UK youth have been going straight to JD to get the sneaker style, since the store opened in 1981.

The Syna World x Nike Air Max 95 boasts a primarily black-based colour scheme with Syna World iconic rose gold accents. Each pair feature a metal tag, replicating Central Cee’s lyrics and motto ‘Live Yours’.

Sported by Cench and his crew, the launch also features a limited-edition Syna World x Nike Swoosh Tech Fleece set. Tech Fleece is a favourite of the rap icon’s, choosing the matching joggers and hoodie for performances and music videos. This edition of the Swoosh features Nike’s logo on the left, with the Syna World logo on the right, in classic black with rose-gold accents.

Please see full pricing below:

Nike Air Max 95 - BLACK/MTLC RED BRONZE-ANTHRACITE-DUSTED CLAY-COOL GREY - £185

Nike Tech Fleece Pant – BLACK/(MTLC RED BRONZE) - £100

Nike Tech Fleece Jacket - BLACK/ANTHRACITE/(MTLC RED BRONZE) - £120

The Syna World x Nike collaboration will be available exclusively at JD Sports in stores from the 24th October 2024. With limited stock, fans of Central Cee and sneaker enthusiasts alike are encouraged to move quick! 

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Oftentimes when we talk about the African music space, we hone in on the stories of the artists but forget to mention the people behind the scenes who make things happen. When you think of individuals on the continent who are and have shaped the music industry, Seven Mosha has to be at the top of that list. 

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Seven Mosha (Photo: courtesy of Seven Mosha) 

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From starting out in her younger years as a presenter at Clouds FM (Tanzanian media house), MTV Africa, working with and managing Tanzanian artists like Alikiba, TID, Lady Jaydee and more, to her current role as the head of Marketing and Artist Development in East Africa for Sony Music, you will find very few resumes more impressive than hers. She is an executive who has an eye for talent, strong business acumen and is unabashed in her quest to take East African music to a level never seen before.  

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In this interview, we dive into her two decades worth of experience in the industry, the growth of the Tanzanian music scene, artist management, AI and more.  

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Where did the name “Seven” come from?

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Seven: My government name is Christine Mosha. Seven came about when I got my first entertainment gig with Clouds Media, which is a media house here in Tanzania. 

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While Clouds was the first time she introduced herself to the larger public as ‘Seven,’ the nickname predates itself back to primary school days where one of her teachers “talked a lot about the powerful numbers and seven stood out. Stood out in religion. And it stood out in nature.” Prompting her to start calling herself ‘Seven’ as she not only found the number powerful but useful in serving her future creative endeavor.

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When you were growing up in Tanzania, specifically during your teenage school years, what kind of music were you listening to? 

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Seven: From the parents' side, I would listen to African music. You know, the likes of Ringo [Madlingozi], Oliver Mtukudzi, which were my dad's favorites. Remmy Ogala, and then also the international ones, which were popping at that time.

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I remember there was a show that existed. My mom used to bring a lot of tapes of the program called “Top of the Pops.” And we used to watch the artists that were popping at that time, like Michael Jackson & Kenny Rogers. Then later on, my brother came in and introduced me to a lot of Classical music, so I listened to that as well and then Rock. And eventually I started listening to Jazz later on, coming to appreciate it very late in my life. 

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How did your interest in the music industry come about in the first place? 

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Seven: I’ve always liked music, but I never wanted to be a musician and I wasn't sure what to do. But I used to enjoy entertainment, specifically on the music side and would like to entertain.

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Over time, Seven came to realize that her passion for music and entertainment was not so much in wanting to be the star herself but to work on the business side of things. She goes in detail to describe how her earlier days in the industry made that decision very clear. 

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Seven: You either be a musician or you talk about music. So I went to radio and then I went to TV, and I would say my biggest break in understanding the entertainment industry fully was when I started working with MTV Africa. And after that, that’s when I was just like, you know what? Yeah, I want to be a part of creation. I want to create, develop artists, and be an artist manager. 

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Seven Mosha (Photo: courtesy of Seven Mosha)

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You started your career in radio, working at Clouds Media Group, then East Africa TV and eventually transitioned to MTV Africa where you headed up A&R and Commercial in East Africa, which included launching MTVbase in Tanzania. In your tenure within these roles, on radio and tv, can you draw a picture for us of what the Tanzanian music landscape was like and its eventual growth process? 

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Seven: Clouds was very instrumental in providing some sort of structure and understanding of our music. The music was already being developed and was already there, but I would say Clouds kind of commercialized it and packaged it in a way that people had access to relate to what they can understand and what they can hear.

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Mosha recalls how the platforms that were around at the time mainly focused on ‘international music’ whereas Clouds honed in on branding the local sound of Bongo Flava and went as far as to create concerts such as its famed ‘Summer Jam’ series which later turned into ‘Fiesta.’ She said that home grown platforms like Clouds helped the Tanzanian music industry be “way ahead” amongst their East African counterparts. 

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Seven: So we were well advanced by the time East Africa radio and TV opened. And then Kenya and Uganda really started catching up. We also had a lot of Kenyan artists come into Tanzania, work with different artists, because we already had that structure. 

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Once MTV Africa was launched (2005), Tanzania now had to compete with their more established counterparts, Nigeria and South Africa. At first, there was some level of doubt given that Tanzania was a Swahili-speaking country and had different cultures and governance to West or South Africa. This had folks like Mosha thinking about how their music would translate across the continent. But at the end of the day, good music and quality production can easily translate across cultures. 

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Seven: Because at that time we had like three video directors who did really good music videos for us, they had come back from the States. So our music videos were very savvy. So we had a lot of airtime at MTV Africa.  

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In 2010, Seven Mosha experienced another career change that led her to leave MTV Africa to pursue her artist management ambitions at her own label and management company, Rockstar 4000. 

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Jandre Louw, who led the Events & Production department at MTV Africa, asked her to join him on his next endeavor of starting a record label. At Rockstar 4000, Jandre focused on the events and productions part of the business while Seven took charge of the talent & music.

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One of the artists that Seven managed at 4000 was the King of Bongo Flava, Alikiba. These two’s first time working together was during a 2010 music campaign for Airtel, the telecom giant covering a good portion of the continent. The success of this project fueled what later would become one of the most prolific partnerships in contemporary Tanzanian music history. 

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Seven Mosha and Alikiba (Photo: courtesy of Seven Mosha) 

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Not too long after that, there was a young and energetic Tanzanian artist on the rise taking the whole of East Africa by storm and even gained a feature from Davido for his hit track “Number One.” That artist was none other than Diamond Platnumz. Upon seeing this undeniable momentum from Diamond, Seven believed that this was the right time to revive the career of Alikiba who had been quiet for some time leaving a vacuum to be filled by emerging artists within the Tanzanian music industry. 

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Seven began managing Alikiba, bringing him back onto the scene amidst nonstop doubts from the media about her inability to resurrect Kiba’s music career. Even with all the noise, Seven believed that Kiba’s talent and loyal fanbase would be a recipe for success. 

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After his three year hiatus from the industry, Alikiba released his hit record “Mwana” in 2014 under the management of Seven. I vividly remember when this song came out, and there is not a single East African function I would attend where they were not blasting this record. Alikiba also released more hit tracks a year later, such as “Aje” and “Nagharamia.” Which helped to fully cement his return to the game and was proof of Seven’s ability to successfully market and develop an artist amidst tense competition and naysayers. 

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He later went on to win Best African Act at the 2016 MTV EMA Awards, and became the first East African artist to be signed by Sony Music Africa all in that same year. But Seven was not just satisfied with having her artist be named Best African Act, she believed they could capitalize on this title and exposure by commercializing Alikiba’s brand. 

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Being a student of the game, Seven closely followed and studied the career moves of entertainment industry titans like Ariel Emmanuel, Scooter Brown, Rich Paul and even Hip-Hop legend turned business mogul, 50 Cent, to learn how she could merge artist, brand and commerce together. 

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Seven: So I read up on them and [they] were just like, you know, you turn the artist into a business brand. And I was just like, okay, what kind of business? I remember that time I was so fed up knocking on multinational companies asking for product placements, asking for that. I was just like there's something wrong with this picture. They need to influence our people using our stars. So why don't we just create our own products?  

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So I was just like, we have to come up with our own brands. We have to take an artist, make him the face of our consumers. So lucky enough, I came across a gentleman who had the same vision, but on a different scale. He used to work at a multinational [beverage] company. 

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Seven Mosha (Photo: courtesy of Seven Mosha)

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Through her connection with Siphiwe Shongwe, a South African with deep knowledge of the beverage industry, they came together in 2018 to start an energy drink where Alikiba would act as the face of the brand. 

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Seven: We launched an energy drink, MoFaya. The buzz on the ground was ridiculous, it was amazing. And since the competition was flying around, Diamond had released his groundnuts. I met with Siphiwe Shongwe and we talked about our passion. He wanted to create so many other products. The energy drink was number one. Carbonated drinks was number two. And then we move into other stuff.

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Being that they were newcomers to the beverage industry in Tanzania, Seven and her business partners faced stiff competition in getting the drink off the ground. Challenges stemmed from supply chain issues, distribution disruptions, regulatory hurdles and later on the COVID pandemic which completely changed the nature of business operations. These various challenges were so powerful that Seven even seeked the assistance of the former President of Tanzania, Jakaya Kikwete.   

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While dealing with the difficulties that came with running a beverage company, Seven also had to deal with the loss of one of her close friends and mentor, Ruge Mutahaba, a titan in the Tanzanian Entertainment industry where he spent years as an executive at Clouds Media Group. 

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Seven: Losing Ruge for me was like, it was painful. It was painful. He was someone that we started off work with. He mentored me. He ignited the passion that I had over talent. He was honored well when he passed on, but I was just like, he gave so much to the [Tanzanian] entertainment industry. And what he got towards the end, they did do [him] justice, but he gave more, way more. Ruge, to me, had another title. He was one of the founders of our music.

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Later in 2020, Seven was approached by Sony Music Africa to head the East African market. 

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Seven: I was tasked to handle Tanzania, Kenya, Uganda, Rwanda, Burundi, South Sudan, Eritrea, Somalia and sometimes a bit of the South, like Zambia, because they gravitate to East Africa music a lot. And I asked for DRC and Ethiopia as additional territories, those are the places that I manage. But eventually DRC was carved out to be handled by the Francophone [department].

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There has been a lot of talk about the role of AI in the production of music or art within the entertainment industry. What, if any, kind of conversations are you and Sony Music Africa having about the role of AI in the African music landscape?

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Seven: What we know so far is how it's affecting the West and how different organizations are reacting to it. But for Africa, I must say we haven't really latched on it yet. And from even a producer's point of view, because in Africa, the structure is just getting perfected in other countries, like let's say West and South Africa. The structure in South Africa has been there for a minute. But now is just the time that our music is crossing over and it's fresh and it's organic. That is, being accepted internationally. So I don't think even the artists or the producers would want to tamper with that.

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Although Seven does not see AI playing a major role in the African music landscape in the near future, she did acknowledge that the technology could be effective in revamping old music material that have lost quality or use due to storage methods that didn’t maintain the original condition. 

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Abigail Chams (Photo: @abigail_chams/Instagram) 

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One of the artists under Sony Music Africa is a promising young Tanzanian artist named Abigail Chams. She recently released her EP 5, has an incredible voice, charisma and is versatile in her musicality as she also plays multiple instruments. What do you believe the future has in store for Abigail Chams? And is she the future of Tanzanian music?

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Seven: When I got the Sony gig, the number one thing in my head was, “I'll prioritize female artists.” With the understanding of what it takes to be a female artist in the industry. I know how complicated it gets. So as a female, I would like to empower them and give them that chance. When I signed with Sony, she reached out to me and then I said, “okay.” 

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I was blown away by the talent, she had the drive and the ambition to be a perfect fit. I introduced her to Sony. So they liked her a lot. They saw the same thing I saw and then now we have a ‘developing’ contract with her, working with different kinds of producers, different kinds of songwriters and really expanding and understanding her music. 

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Do I think she's the one that will carry the music internationally? One-hundred percent. There are things that we need to work on as a territory to figure out what will take our music there. That involves culture as well, but at the same time, I think she has it in terms of personality, character, talent, drive, and passion. 

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Seven Mosha (Photo: courtesy of Seven Mosha) 

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You recently announced that BET and MTVBase Africa will be the official media partner of the Tanzanian Music Award, making it the first and only African country to have paramount media support from these two organizations. What will be the impact of this partnership on the exposure and growth of Tanzanian music? 

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Seven: In every single territory that I represent, they have their own areas that require a certain amount of development, for the music to be recognized internationally. The artists are doing a fantastic job on their own, but there's some sort of structure that needs to be in place for them to move towards.

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Mosha’s quest to create a structure that will complement the growth of the local industry found her improving another staple within the country’s music scene; The Tanzania Music Awards, planned to take place on October 19th, 2024. This award show just like Alikiba had been dormant for some time, and Seven alongside her co-committee members saw this year as the right time to bring it back to life in a new fashion. 

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Seven: So we need to have an award show that compliments their brand. And we came up with a production house that will actually fit the brand. We're changing the logo, we're changing the trophy, everything from the look and feel to complement that stature.

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This has also meant a total rehaul of the nomination process to include data gathering that can back up award nominees and winners, while also bringing on international media partners that can provide much needed global exposure of the award show.

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Seven: And that's where MTV Africa and BET Africa come in. They'll come and pick their own content that they want and then package it in a 60 minute show and then air it. And to me that was just like giving Tanzania, not just the awards, but the music recognition outside of the country.

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Seven Mosha (Photo: courtesy of Seven Mosha) 

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Beyond this, Seven has plans in the works to create a hub for Bongo Flava. This hub will exist via a dedicated website, museum and documentary. All of this work is a part of her mission to not only grow the genre, but tell the story of this art form to make sure that it's celebrated for generations to come. 

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Quite frankly, Seven Mosha has carried on the baton of her mentor, Ruge, in becoming an influential shaper of industry. When the history of Bongo Flava and Tanzanian music is written, Seven deserves an entire chapter dedicated to the storied impact that she has had on the sector. She’s not an executive who settles for good enough but requires business and artistic passion to work in tandem with another. Her relentless pursuit of excellence, success and progress is what the East African market needs more than ever. Seven has a vision that sees far beyond the shores of the Indian ocean in hopes of creating an impact that connects cultures and commerce one song at a time. 

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Afrobeats has exploded from its roots in West Africa to become a global phenomenon, filling dance floors and playlists around the world. But as big as Afrobeats has become, it feels like it could grow even further—especially when it comes to storytelling and visual representation. And that's where Afrosurrealism might come into play.

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Understanding Afrosurrealism

Afrosurrealism is an art movement that combines the real and the surreal to highlight the experiences of Black people. Unlike traditional surrealism, which often focuses on dreams and the subconscious, Afrosurrealismis grounded in everyday life. It shines a light on the strange and sometimes absurd aspects of these experiences. The term was made popular by writer D. Scot Miller in his "Afro-surreal Manifesto" describing it as a way to uncover hidden truths in Black culture. With mystical and metaphorical elements, Afrosurrealism tells stories that are both real and otherworldly.

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The Current State of Afrobeats: Identity and Reality

Afrobeats artists have always explored themes of identity, culture, and reality in their music. The pioneer of Afrobeats, Fela Anikulapo Kuti, being a prime example, his songs often touched on personal experiences, societal issues, the complexities of African life and struggle for freedom. 

Fast forward to today, and you’ll find artists like Falz doing something similar. His track "This Is Nigeria," a powerful take on Childish Gambino's "This Is America," calls out corruption, religious hypocrisy, and other pressing issues in Nigeria. The song’s music video is just as impactful, giving a raw, unfiltered look at the Nigeria’s reality.

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The Need for Enhanced Storytelling and Visuals

While we have some great examples, there’s room for more Afrobeats artists to take this approach. Music alone can be powerful, but visuals add a whole new dimension.  A picture speaks a thousand words, a 3 min track speaks an average of 450 words. As visual beings; images resonate with us, they stay in our minds, and they can evoke emotions that words alone sometimes can't.

Through powerful visuals and storytelling, artists can immerse audiences in their world. It's about more than just feel-good beats; it's about sharing stories that shed light on real-life issues and help foster understanding across cultures. By blending Afrosurrealism into their music and visuals, Afrobeats artists can bring out the paradoxes of modern African life, challenge stereotypes, and invite listeners to think more deeply.

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Bridging Afrosurrealism and Afrobeats

So, how can Afrobeats artists effectively blend Afrosurrealism into their music and visuals?

Bold Storytelling: Artists can create narratives that mix reality with surreal elements. This might mean weaving in folklore, myths, or fantastical scenes that represent real-world issues. It’s a way to make the stories both engaging and thought-provoking.

Innovative Music Videos: Visual representation is key. Music videos that utilize Afrosurrealistic techniques—such as symbolic imagery, unconventional settings, and dreamlike sequences—can enhance the song's message. These visuals push viewers to look beyond the surface and think more about the content.

Address Societal Issues: Artists have a platform, and they can make a difference by spotlighting important topics. By framing these issues with an Afrosurrealistic lens, they can reveal complexities that might otherwise go unnoticed.

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Why Combine Afrosurrealism with Afrobeats?

Mixing Afrosurrealism with Afrobeats could add new layers of meaning to the music. It invites listeners to go beyond just enjoying the beats and engage with the messages on a deeper level. This fusion also helps break down stereotypes about African music and shows that African artists can create art that’s not only entertaining but thought-provoking.

The time could not be more ripe for Afrobeats artists to push the envelope. The world is watching, we have the stage and there's a hunger for authentic stories and fresh perspectives. By bringing Afrosurrealism into their work, Afrobeats artists have a chance to offer something unique—art that entertains, yes, but also enlightens. We need music that challenges us, that makes us reflect on our own realities and the realities of others. Afrobeats has the platform and influence to make that happen.

In embracing Afrosurrealism, we invite the world to see beyond the surface, to understand our realities, and to connect with us on a deeper level. It's time for Afrobeats to not only make us dance but also make us think, feel, and truly see.

"If love itself were to write you a letter according to your life's experience of different forms of love, what would that look like?"

This is the question Shae Universes poses and explores throughout Love's Letter. The album, which is a follow-up to her EP Unorthodox, takes a more conceptual approach as she delves into the ten-track album, exploring various forms of love through a timeline of a relationship that takes place throughout the album.

Starting with "Love Self," which features words spoken by her mother, and ending with the self-reflective track "Sincerely," the tracks in between take you on a journey that touches on the complexities of love, heartbreak, and self-discovery. Every song offers insight and reflections on love, creating a profoundly intimate and relatable listening experience. The themes explored in the album are not just personal to Shae, but they resonate with the experiences of many, making the listening experience even more profound.

The title poses a question explored when you listen to the album and are very intentional about what the project represents. "I decided to call it "Love's Letter", as opposed to "Love Letter" or "Love Letters", because this project is meant to tell a story of love itself. It touches on many different types of love, whether romantic, self-love, or God's love, and it's essentially supposed to make the listener think or reflect." Its title and lyrical content achieve the goal as you listen from top to bottom. It brings out a lot of various feelings and emotions, which make one think about and asses the topic of love in its various forms.

With the album as a whole and everything that has transpired from this era, one that comes across in everything from how it came together to the track listing and everything in between is the effortlessness and how it all came to be. Its inception did not happen until the creation of the track Oh Wait…. "Because the process organically started, and I only realized, after I'd created, "Oh, Wait…" that this is telling a story. That's when I realized these songs are cohesive, and it started to make sense." Painted against the background of a relationship in its demise, it was more about documenting the emotions and experiences that took place during its time of writing—contributing to the project's resonance, which has found relatability to those who have been able to listen to and connect with the album. "I was going through certain things in my relationship and creating music about them then. Because just like anything—relationships, life—it's not premeditated; you just go through it. Things happen. You find yourself in positions or situations you didn't anticipate, and then you must navigate from that situation or that position."

The letters written throughout the album are ones of self-discovery, growth, empowerment, and adoration with aspects of toxicity, forgiveness, self-doubt and insecurities, which paint an actual reality of what love can be and encompasses. However, you get a deeper understanding of her artistry and the personal evolution and transformation that has taken place from where we begin to where we end. As we gather on set for the cover shoot, it feels like a different Shae Universe is standing before us. Throughout the variety of looks she embodies, there is an overall aura of a superstar emerging. Not that this is anything to be surprised by. The evolution throughout her lyrical and sonic abilities on the album is one thing; however, that same evolution is also present from where she is in her career. Having been independent until now, she signed a deal that allowed her to distribute in the US and was part of the next stage of her career, evident in all that has transpired since the album's release.

This has been apparent to her, and she is not lost in the journey to get to this point. "As I've evolved in my career, I've noticed significant personal growth. Many things that were once dreams are now part of my everyday life." The reality of what this looks like is both exciting and somewhat overwhelming regarding the expectations, and what she feels is just the beginning. "It can also be daunting sometimes, even after all this work that I've put in and even after all the growth that I've seen getting to this point, sometimes I feel like I'm still only scratching the surface". The conversation of being underrated has surrounded Shae ever since she came onto the music scene. However, since the early beginnings, there's never been a doubt that she would always be somebody to look out for. Arriving at this stage and thinking about all the events that have led up to this moment, gratitude is the feeling that stands out to her from the process. "I'm filled with gratitude when I look back and see the growth I've experienced. It's also a blessing to have others recognize and appreciate this growth. This sense of gratitude is something I carry with me every day." 

There is no doubt that 2024 will be one for the books in terms of where she currently is on that journey to superstardom. "Every artist is waiting for the breakthrough moment, and things begin from that moment, so all the work you've put in before that point serves as preparation. But then, once you break through and become a global star, you are in front of the world. That is like the start of a whole, completely different journey. "This journey being one that feels like she is on the cusp of reaching, with the album and all that has followed since, is only one part of the puzzle of the overall picture. Since its release in February, she has travelled all over the world, spending a lot of time in the US building her profile and achieving things such as playing a stellar Tiny Desk performance, which is not only a moment for her but for UK R&B in general and can only be described as an "A major milestone I can never forget." Not to mention playing the bill as the only UK artist at DLT's debut R&B The Recipe festival, joining the likes of Jazmine Sullivan, SiR, Alex Isley, Destin Conrad and Tone Sith, to name a few. Not stopping there, she is also embarking on her first headline tour, which will see her play shows across the UK, dates in Paris and Amsterdam, and one can only predict that the US will follow shortly.

This accession has seemingly been a seamless journey, looking at everything outwardly without knowing the realities. The realities of navigating the industry until this point have been another thing on its own. Having been an independent artist who, at one point, was self-managing herself, I have faced a lot of hurdles and obstacles to get to this point. The struggles of being understood, being seen for who you are, discerning trust, and navigating politics and relationships have been a part of her journey and not something easy to navigate. "Having a certain level of awareness can be draining, having to be constantly on guard. It takes a lot, and that's something that I've struggled with the most." Having to navigate things like who to trust and being more aware of people in new environments can cause one to be sheltered and become weary when engaging with others and navigating the new realities of life.

An important part of remaining on course and staying true to her journey comes from her faith. Her understanding and relationship with God carry her through most of the challenges she has been through and allow her to reach this point and understand the greater meaning and purpose of her singing gift. "My belief system is that this gift of singing that I have was given to me by God. I have an assignment with this gift to help the world." Through being a voice for people who cannot communicate or articulate their emotions in the way that happens so easily for her. The album perfectly displays how that is so clear for her in all that she can put through in the music. "It's rewarding to see the people whose lives you impact and the people whose lives you help. Because, again, music is a very spiritual thing. I feel like music is the timestamp of our lives, which is why people get so attached to certain songs because they remember a time in their life when they were, what they were doing, or how they felt, and to me, it just makes me realize that my music is a lot deeper than just me."

The chapter about this album and how it has arrived at this point in her life, not just in her career and artistically but also personally, is one of her most significant life-changing moments. Before reaching the end of the conversation, I enquire about how this shift has presented itself to her, thinking about all that has taken place and how the previous version of Shae before Love's Letter differs from the one after. Before answering me, there is a pause, and the question prompts certain realizations as she reflects. "The difference between Shae, who wrote Love's Letter about all her experiences, is that Shae was quite sad. As you can tell from the songs I was writing and the things I was going through. I was also pretty unsure of myself because the journey speaks about returning to love, self-assurance and being sure of who you are, but in return, you have to lose yourself first. You have to stray far from what feels like home or what feels familiar and get into unfamiliar territories to return to what you know is your truth and what resonates with you." There's an acknowledgement of feeling lost during that journey and that although from that time came the music she was able to share with the world, a lot had to take place before getting that to that point.

Expanding this further, the album's impact on her life is also pivotal in more ways than one. "The album is a pivotal point in my life for my growth as a woman, coming into myself again, learning, relearning myself, and unlearning all the unhealthy, negative things that I may have picked up knowingly and unknowingly." If one hasn't noticed or couldn't tell, there is a confidence that oozes through and was very much present on set while the shoot took place. This can also be attributed to the album and what it has done for Shae overall as a person. "Love's Letter gave me an unshakable level of self-assurance. I know that there is always room for improvement. But who I am at my core, I'm sure of now, and that wasn't the case before I knew exactly who I was."

This is a core part of getting to the next level of her career. At the end of the day, as artists chasing this dream who want to become the next global star. A key part of that is knowing yourself in an unshakable manner before you graduate to that point. The revelation that all these things have been part of the preparation, along with all the experiences of feeling disheartened and other hurdles that have been faced, is critical. And now, as the end of the year creeps upon us with an upcoming tour and the overall reflection of the Love's Letter era, I ask what the highlight has been, and to no surprise, it's the growth. "My growth as a person, outside of the music. The woman I'm walking into is one of confidence and fun. I want this next phase of my life to be the most fun era. I'm tired of struggling, crying, and being heartbroken. That is not my story anymore. I want to be a young, confident, sexy woman living her best life, being as present in every experience as possible, and experiencing new, exciting, once-in-a-lifetime things. That is what the next era of my life will be filled with, and that's what my music will be filled with because it will reflect this new calibre of life I'm now being exposed to."

CREDITS

Creative Director & Photographer: Karis Beaumont - @karisbeau

‍Producer: Seneo Mwamba - @seneomwamba

‍MUA: Dalila Bone - @Dalila_mua

‍Lighting Tech: Alex José - @alexjose.photo

‍Photographers assistant: Bella Bujosa-ArmoraStylist: Alaba Nwanya - @thenaturalhairwhisperer

‍Design: @deeds.studio (@shalemalone&@dianeadanna)

Nail Artist: Naomi Richards - @naysap_

‍Journalist: Seneo Mwamba - @seneomwamba

‍Studio: Blankbox Studios - @blankboxstudio

Ayodeji Ibrahim Balogun, globally known as Wizkid, is set to drop his highly anticipated Album, "Morayo". Till date, Wizkid has released five studio albums, each marking a different era in his career.

• Superstar (2011) - Wizkid's debut album, which included hits like "Holla at Your Boy," introduced him to the Nigerian music scene and established him as the Starboy he is today.
• Ayo (2014) - This sophomore album featured tracks like "Ojuelegba," which brought him international recognition and solidified his name in Africa.
• Sounds from the Other Side (2017) - A project aimed at the international market, this album featured collaborations with artists like Drake and Chris Brown, cementing Wizkid’s global status, he was not just an African artiste again, Wiz had gone global.
• Made in Lagos (2020) - Featuring the global hit "Essence" with Tems, this album was celebrated for its blend of Afrobeats and was much needed at the point when Afrobeats was becoming increasingly popular in Global Music. He set a standard for listeners worldwide - this is what Afrobeats sound like.‍
• More Love, Less Ego (2022) - This fifth album showcased a mature, reflective side of Wizkid.

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Following the recent passing of his mother, Wizkid entered a period of mourning and silence. Emerging from this difficult time, he has embodied a refreshed persona. From being close to radio silence on his X account, Wizkid has become much more active on social media, showing a more publicly engaging side. We are certainly seeing a new dimension of Wizkid, and it's intriguing to wonder how all of this has influenced his upcoming album, "Morayo."

In anticipation of "Morayo", Wizkid has unveiled four snippets that have set the music community crazy already. The previews, shared are:

• "Sometimes" featuring Brent Faiyaz:
• "Piece of My Heart" featuring Brent Faiyaz
• "Whine Your Body Kojo"

In the run-up to Morayo, Wizkid has teased fans with four snippets that have the music community buzzing. Wizkid shared these previews in an exclusive session with DJ Tunez, at his London Listening Party. The tracks previewed:

• "Sometimes" featuring Brent Faiyaz
• "Piece of My Heart" featuring Brent Faiyaz 
• "Whine Your Body Kojo"

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In addition to these snippets, Wizkid has stirred up plenty on X (formerly Twitter), with some fiery comments aimed at  Davido, sparking a fresh wave of their long-standing rivalry with posts that were quick to go viral. This has some fans speculating whether this is part of his strategy to generate hype or simply an ongoing feud. Whatever may be the actual motive, by stirring controversy and sparking fan conversations, Wizkid has managed to keep the spotlight squarely on himself and his upcoming release. His recent listening party in London only added to the anticipation. “Morayo” is coming and we can’t wait to witness this masterpiece.

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The much-anticipated debut album from Oxlade, "Oxlade From Africa", is finally here, and it delivers beyond expectations. Right from the onset, the album sets a profound tone with "D PTSD Interlude", a powerful segment that talks about the trauma faced by Oxlade and his manager, Ojahbee,  during the 2020 End SARS protests against police brutality in Nigeria. The interlude features a charge from Ugandan activist Bobi Wine, urging African youth to stand up against all forms of brutality. This powerful introduction reflects the collective issues faced by the African youth, setting a meaningful foundation for the album.

The mood changes on the next track, "Olaitan-Olaoluwa"—a track derived from Oxlade's real name, Ikuforiji Olaitan Abdulrahman— which translates to "wealth is endless, the wealth of God." Here, Oxlade speaks on the blessings in his life, reminding us of his journey and identity. We are instantly reminded of his signature vocals, which we've come to love from hits like Ku Lo Sa.

The album is packed with meaningful collaborations, showcasing a variety of features that add depth and diversity to the project. "Blessed" featuring Popcaan is an instant hit, blending Oxlade's smooth melodies with Popcaan's distinctive style to create a track that's not only reflective, but also easy to vibe to.

Fans will recognize familiar tracks like "Intoxicated" featuring Dave and "Ku Lo Sa," which were released prior to the album drop. These hits fit seamlessly into the album,and are  worthy additions to his debut album.

True to its title, "Oxlade From Africa" is a celebration of the continent's rich musical talent. Oxlade collaborates with well-versed artists from all corners of Africa, making this truly an album born out of the motherland. On "IFA," he teams up with legendary Congolese singer Fally Ipupa to produce another club banger that's sure to get you grooving. 

Known for his loverboy persona, Oxlade doesn't shy away from romance on this album. "OVAMI" featuring Flavour is a sweet melody where Oxlade professes his emotions to his woman. Flavour's verse is the perfect feature, making this song a match made in heaven. It's the kind of track that'll make your lover's heart swell if you serenade them with it.

The "Tamuno Interlude" adds another layer of cultural depth, featuring traditional chants from Africa.

One of the standout moments is "Asunasa," where Oxlade joins forces with Wande Coal. They sample Wande Coal's classic "Allow Me To Feel Your Hands," and the result is nothing short of spectacular. It's a meeting of two masters of melody, and their synergy is such a vibe. If you've ever wondered what it sounds like when such talents collaborate, this track is your answer.

Oxlade continues to bring heavyweight features with "Ololufe" alongside Ghanaian superstar Sarkodie. The song seamlessly blends their unique styles, creating a cross-border hit sure to get the clubs in Accra and Lagos vibing. On "RMF," Oxlade delivers a bold and unapologetic anthem about success and the trappings that come with it. 

"On My Mind" featuring Tomi Owó and Ojahbee is a soft melody that provides a soothing contrast to some of the more high-energy tracks. 

The album closes with the track "OFA" (Oxlade From Africa). In this song, Oxlade reflects on his journey. It's a heartfelt conclusion that brings the album full circle, leaving listeners with a profound sense of who Oxlade is—one of one, one pea in a pod, Oxlade From AFrica.

"Oxlade From Africa" is more than just a collection of songs; it’s a narrative of Oxlade’s life, his experiences as both a lover and a fighter. From the powerful opening address police brutality and his personal traumas during the End SARS protests, to overcoming media and industry obstacles, Oxlade has consistently fought against the odds to share his music with the world. His journey reflects the struggles and triumphs of many African youth, which resonates with many of his listeners who may have faced similar challenges in their own sphere of life. This artist from AFrica is just getting started, and his debut album is a bold statement of what’s yet to come!

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After a year-long sojourn into the depths of their minds, TUNTU and SIMSIMSOSA emerge with a groundbreaking opus, "0's & 1's". A sonic and visual odyssey, it’s an invitation to question the very fabric of existence. Have you ever stared into the digital abyss and wondered if it’s staring back? Pondered the intricate dance of particles that compose our world? Or perhaps felt the weight of circumstance on communities marginalised by society?

 "0's & 1's" is an audacious exploration of these questions and more. It’s a mind-bending journey through the realms of simulation theory and quantum physics, intertwined with the raw realities of life’s challenges. This isn’t merely music; it’s a catalyst for thought, a challenge to perception. The accompanying music video, a visual masterpiece crafted by award-winning, multifaceted creative artist Oliver Asadi, is a portal into a universe where the digital and physical collide in breathtaking harmony. It’s a world where shadows dance with light, and questions find form. Are you ready to decode the matrix? To quantum leap into a new perspective? To feel the pulse of a community yearning for change? Then "0's & 1's" is your destination.

ABOUT SIMSIMSOSA:

SIMSIMSOSA is the epitome of UK Rap's raw authenticity. With a blend of finesse, he's been crafting sonic landscapes since his debut conceptual EP, Demi-God in 2018, leaving listeners spellbound with his lyricism and captivating storytelling. His track The Void skyrocketed to the top 50 tracks of BBC Introducing Sheffield in 2022, proving that his sound knows no bounds. Hitting the scene with an unapologetic sound, SIMSIMSOSA's journey hit a new milestone with his 2023 mixtape HOOLIGAN solidifying his status as a force to be reckoned with in the UK Rap circuit.

From the shadows of Leeds & Sheffield to the forefront of the UK Rap renaissance, SIMSIMSOSA is carving his legacy with every verse, weaving tales of resilience, ambition, and the unyielding spirit of the streets. Enter his world.

ABOUT TUNTU:

TUNTU, is a verbal healer. From the heart of Africa to the streets of England, TUNTU is known for his intricate story-telling through rap and it’s no wonder why as he was inspired by the gurus of music.

TUNTU brings such a unique and diverse sound to the UK music stage with his unorthodox delivery and his enchanting vocal range. He dives deep in topics of political propaganda, spirituality, taboos and mental health throughout his generation.

He first appeared in the music scene with his release of Pro-Illusion an unusual but intriguing melodic spoken-word with a coded tittle that stands for Pollution. This song came with a striking visual that certainly had his audience wanting more.

During the composition of Vent Session, TUNTU started his own independent record label in early 2020 named Unapologetic Music. TUNTU put forth an avenue to release his own music. The label currently houses TUNTU himself and SIMSIMSOSA, who TUNTU sees as an influential and inspiring

In recent times, West and South African music and culture has flirted with the lofty heights of global success. East African music has been the sideline-watching region brewing and yielding a takeover that is inevitable. While stars such as Sofiya Nzau, hitmaker of the viral hit song “Mwaki” have become stars in their own right, East Africa and Kenya specifically has been a country waiting to seize its opportunity to offer its voice to Africa’s diverse community of artists. 

‍In today’s article, Olawale Olaiya and Alfayo Onyango sit with two Hip Hop tastemakers Dr. Reign and Asum Garvey who teamed up to release their debut joint effort ‘Awesum Reign: The Stance’ - a chivalric and imperative statement from the Hip Hop community on various topics. From the country’s socio-political landscape “It reflected on things many Africans go through with their leadership and we felt that African artists haven’t been walking loudly enough about the impunity and poor leadership we face as a country and continent. It was recorded in late 2023 and the message is relevant to this day” Dr. Reign, a paediatrician that dabbles in music as a passion tells Deeds Magazine. 

“Funny thing is the song was recorded last year but it was somewhat a prophetic song. With the ongoing protests it was just perfect timing for its release as everything aligned. Goes to show how much the politics never quite changes much” Asum Garvey shares with Deeds Magazine. 

‍The project is also a fun-filled record that has Afro-Drill elements while possessing racey records such as “Run It Up” and more. Check out the chat below.

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DEEDS: Your journey from medicine (pediatric) to hip-hop is quite unconventional. Can you walk us through how that transition happened? What inspired you to pursue rap alongside your medical career?

‍Reign: I always tell people that before I became a doctor I was a rapper. I started out as a freestyle and battle rap emcee when I was 15 years old. Winning my first Sprite rap competition at 16 in Botswana. At 17 I went to pursue medicine in Russia and as fate would have it I continued to pursue rap and slowly grew into a Hip Hop artist whilst pursuing a medical degree. Since coming back to Kenya and practicing it’s been a bit of a challenge balancing the two but since I got my Masters of Medicine in Paediatrics and a long hiatus I felt it’s time to get back to my first passion which is Hip Hop.  

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DEEDS: How did you come up with the name Dr. Reign? Is there a story behind it, and does it reflect your dual identity as both a pediatrician and a rapper?

Reign: My artist name was B-Reign, I ditched the B and put Dr to it once I became a doctor as affirmation and to represent change and transformation.‍

DEEDS: Asum, your work ethic is relentless. How do you balance between mixing and mastering as well as your rap career?

Asum: I made sure my job is in line with my career. As I sharpen my engineering skills, Asum is winning because his sound also evolves with working with artists of all styles. They feed each other and I feel that’s balanced enough.‍

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DEEDS: What was the creative process like for this joint album? How did both of you write together, or did you each bring your own ideas to the table?

Reign: The first record we recorded was “Run It Up,” which was initially supposed to be my comeback single and Asum was actually just sound engineer at the time. As I recorded the verses and hook I could see Asum writing something down so I could tell he was in the zone. Told him if he’s feeling it he should jump on it. Immediately, it felt right. We then started exchanging ideas, locked in the studio and the rest is history.‍Asum: Some songs were ideas that we brought in in terms of the hooks but all the music was written and recorded in the studio together with the features.‍

DEEDS: The album blends two distinct voices—Dr. Reign and Garvey’s. How did you strike a balance between your different styles, and what themes or messages are central to the project?

Reign: My style is very NYC and Southern African Hip Hop influenced and Asum Garvey is more in tune with the urban and Shrap scene. I felt it would be great blend of bringing the both worlds together to deliver an authentic Afro Hip Hop album. The messages revolved around what we were both going through at the time as individuals and Kenyans. A message that resonates in most African settings. We opted to be authentic and not go with what’s currently trending. The album was inspired by Hip Hop at 50 years and how it’s been an Awesome Reign of Hip Hop in the past half century. ‍Asum: The balance was easy as we’re both Hiphop heads. The main theme is sociopolitical issues in society.

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DEEDS: Speak to records like “Out My Melanin” that spoke on social issues during the protests in Kenya against the finance bill and government?

Reign: “Out my Melanin” came to life after a 2-3 hour conversation we had with Asum in the studio. It reflected on things many Africans go through with their leadership and we felt that African artists haven’t been walking loudly enough about the impunity and poor leadership we face as a country and continent. It was recorded in late 2023 and the message is relevant to this day. ‍Asum: Funny thing is the song was recorded last year but it was somewhat a prophetic song. With the ongoing protests it was just perfect timing for its release as everything aligned. Goes to show how much the politics never quite changes much.‍

DEEDS: What records stand out to you the most and what about them evokes you as an artist and person?

Reign: Out My MELANIN is special because it was almost prophetic. Run It Up because if we didn’t record it the way we did we probably wouldn’t have an album. ‍

‍Asum: Wagwan for its high energy, Simba for uplifting and Run it up for the bars and essence of rap.‍

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DEEDS: Kenya’s hip-hop scene is rapidly evolving. How do you see your role in shaping the sound and identity of Kenyan rap, especially as someone who comes from such a different professional background , and Asum as a seasoned vet but with a fresh take on the game?

Evolution is part of life and like all life forms we must evolve. Hip Hop has evolved in Africa. We are integrating it in Amapiano, Shrap, Afro-Drill, Arbantone etc. I represent the basics and foundation of Hip Hop which is important to have so that you can evolve into other sub genres. ‍Asum: I’m all for evolving the music to the time while still acknowledging the history of it. Mine is to encourage thinking out of the box.‍

DEEDS: What message do you hope listeners take away from this collaborative project, both in terms of the music itself and the story behind it?

Reign: Be unapologetically you. Being authentic is your niche. ‍Asum: Do what you love, block away the unnecessary noise and never be afraid to make the music you love.‍

DEEDS: Looking ahead, do you have plans for more joint projects together or with other Kenyan artists? What’s next for both of you in the music world?

‍Reign: We definitely have more music to share as Awesum Reign. Expect more collaborations and singles from Reign with other artists as well.‍

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DEEDS: Lastly, what advice would you give to young Kenyans who might want to pursue unconventional paths, blending different careers like you have as a pediatrician and rap?

Reign: Do what you love and don’t let them box you in. A profession can be in music and can be in medicine or engineering. Music is a long game, patience and perseverance. ‍

‍Asum: Be bold and do what you love but be open to new ideas.

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Fireboy DML’s latest album, Adedamola, named after his birth name, is a rich blend of Afropop, R&B, and soulful melodies that feel both familiar and comforting. The album showcases Fireboy’s signature sound, delivering smooth, heartfelt tunes that resonate deeply with fans of romantic Afrobeats.

IseOluwa: A Spiritual Opening‍

The album opens with "IseOluwa," a track that sets a reflective tone with its theme of gratitude and faith. The line “IseOluwa ko seni to ye,” meaning "God works in mysterious ways," offers a spiritual touch that mirrors the introspective moods seen in recent releases from other YBNL artists like Asake and Olamide. This spiritual undertone enriches the album’s context, making it more than just a collection of love songs.

Fireboy's Lover Boy Persona Returns

After the soulful beginning, Fireboy quickly returns to his familiar romantic persona with the track "Call." This song is a smooth and catchy love anthem that ushers in a recurring theme throughout the album. His signature style— a blend of R&B with Afropop rhythms—shines in songs like "Ecstasy," which features Seun Kuti. The trumpet performance by Seun Kuti elevates the track, taking listeners to euphoric levels, truly embodying the song’s name. Ecstasy is a perfect addition to any romantic or "chill vibes" playlist.

Star-Studded Collaborations

Fireboy taps into a wealth of musical talent for his features, collaborating with artists who share his romantic inclinations. On "Back and Forth," Fireboy teams up with the legendary Lagbaja, whose trumpet and saxophone solos add depth to the track. This collaboration delivers a unique fusion of sounds, creating a song that’s irresistible and joyful.

International collaborations shine on Adedamola as well. Jon Batiste features on "Ready," a beautifully produced track where Batiste’s piano skills and Fireboy’s vocals blend harmoniously. The two reconnect later on "Jon’s Interlude," a piano-led closer that brings the album to a serene, soulful conclusion. It’s a graceful ending to an album filled with emotion and rich instrumentation.

A Nod to Afrobeats Legends

Fireboy pays homage to Afrobeats legends with "Wande’s Bop," featuring DJ Spinall. This track is a high-energy tribute to Wande Coal, evoking the classic Mushin 2 Mo’Hits era. The infectious rhythm and nostalgic sound make it an instant favorite for fans of classic Nigerian Afrobeats.

Catchy, Upbeat Vibes

Adedamola keeps the momentum going with tracks like "Change Your Life," produced by Semzi and Bassiqally. This catchy, upbeat track is bound to get listeners moving, showcasing Fireboy’s ability to shift between romantic serenades and danceable Afropop bangers effortlessly.

The Heart of Fireboy

True to his core, Fireboy’s romantic essence shines brightly in tracks like "Obaa Sima," "Need Me," and "Everyday." These love songs are quintessential Fireboy—full of smooth melodies and lyrics that speak to the heart. Each song feels like a personal serenade, reminding listeners why Fireboy is celebrated for his ability to capture the complexities of love in his music.

A Satisfying Conclusion

The album concludes with "Jon’s Interlude," a gentle, piano-driven track that leaves listeners with a sense of contentment. Fireboy may not have taken many risks with Adedamola, but he has crafted a body of work that feels satisfying in its simplicity. This is an album for those who appreciate the soothing melodies of Afropop and the heartfelt touch of R&B. Adedamola is a testament to Fireboy’s consistency as a top-tier Nigerian artist, blending romance, spirituality, and rhythm in a way that feels effortless yet impactful.

UK rapper Pa Salieu is back stronger than ever after his release from prison on September 3, following a 33-month sentence in 2022 for violent disorder. He wasted no time returning to his craft. We see a glimpse of this in episode 6 of Afrikan Rebel Diaries, released on September 5, in this episode, fans get to see a brief glimpse into his post-prison life—showing him coming home, picking up an AP watch, and heading straight to the studio—wasting no time!. Proving his determination to reclaim his place in the UK rap scene. Just days later, on September 6, he released his new track, "Belly," signaling that he is locked in for a fresh chapter.

Salieu’s comeback single "Belly" opens with the line, "I’ve been gone for a while, but I still make it back to you," a subtle nod to his time away. Produced by Felix Joseph and AOD, the track showcases his signature blend of drill, Afrobeats, and UK rap, with smooth production that shifts to intense basslines as the song progresses. "Belly" feels like a continuation of the sound introduced in his debut project, Send Them to Coventry. Pa Salieu maintains the raw storytelling style that sets him apart, balancing vulnerability with hard-hitting bars. 

Pa Salieu’s return from prison is more than just a personal victory. It marks a significant moment in his career. His music often reflects his own life, growing up in Coventry as a first-generation Gambian-British man, and "Belly" continues in that tradition. The song represents not just a comeback, but also his readiness to push forward, taking lessons from his past while preparing for the future. Upon his release, Pa Salieu posted on social media, echoing the same sentiments as his lyrics in "Belly," reassuring fans that he is back and ready to reclaim his space in the industry.

The sixth episode of Afrikan Rebel Diaries further cements Salieu's comeback narrative. Filmed in a documentary style, the episode captures key moments post-prison—Salieu reconnecting with family, celebrating his freedom, and immediately returning to work. It highlights his relentless work ethic and commitment to making up for lost time. The episode symbolizes a rebirth, showing an artist who is locked in and ready to embrace his future.

With the release of Belly and episode 6 Afrikan Rebel Diaries, Pa Salieu proves that he’s not only back but with a purpose. His resilience and unorthodox style position him as one of the most exciting voices in UK rap. The message is clear: Pa Salieu is locked in, and this is just the beginning of his comeback.

His fans are undoubtedly waiting for what's next, and if Belly is any indication, Pa Salieu’s fans are in for a feast.

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 I have had multuiple discussions with people on why they did or did not enjoy a party and everytime i get the same answer most times, “this place is dead” and in a lot of cases i agree. 

One thing about people is they love to dance, regardless of if they can or can’t, trust me no serious person is going to a party to stare at the next person, they came there for a reason. 

 Bringing people to a party is one thing, keeping them there is another and that’s the job of a DJ.  Music has the power to create an energy that can move a person so definitely it can move a crowd, for research purposes you can play ozeba in a random gathering of friends and see the effect it has.

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 A lot of the time i’ve seen parties fail not because the DJ doesn’t know what they’re doing, to be a DJ takes a lot of skill and practice i know but the most crucial part of it is understanding who they want to entertain, know your crowd. Recently i went to an event and kukere was mixed with who run the world, in a crowd of people that looked utterly offended by the choice of music, someone made a comment “can this DJ learn another craft”, it obviously didn’t fly with that crowd, definitely it wouldve entertained another crowd, that has nothing to do with the DJ’s actual skill but has everything to do with understanding who you’re playing it for, i think a good DJ should be able to read the room and know when its okay to change a song, no reason to continuosly play “all i do is win win win no matter what”.

 Shout out to the DJs that keep us in parties, Soundgawd, Blessing Ewona, SixSeven, Sae the dj, obiciaga, young odi, chimira, fisayo, jade and many more DJ’s saving us at events, we love you.

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June 3rd was an ordinary Monday across London except for the team assembled at 8 am in West London's Qube studios. Up bright and early and ready to shoot our latest cover star, the team gathered and prepped for the arrival of Dancehall and GRAMMY Nominated songstress Shenseea. Having delivered a sensational performance at the City Splash festival the previous weekend, she took a trip to Seychelles for another performance before flying back into London for a brief window, especially for our shoot.

As everybody knew, to say there was time pressure was an understatement. Yet in the moments of extended hair and makeup, three outfit changes, and the corresponding set changes, a calmness surrounded her as she arrived and left with eight minutes to shoot the final look. 

The results captured three distinctive looks, each portraying a different facet of Shenseea. Her remarkable ability to adapt to each look and embody its unique vibe is a testament to her versatility. This adaptability, evident in her countless fashion looks over the years, is just one part of her artistry that she has displayed and evolved throughout her career. Her willingness to experiment and try something new has enabled her to sustain and thrive throughout her almost decade-long career.

Arriving at this point has been nothing short of hard work for Shenseea, who began her career in Jamaica and has grown into one of the biggest Dancehall artists from the Caribbean Island. Her ability to embrace and carry her heritage everywhere she goes has made her identifiable, catapulting her to international stardom across the globe.

Yet, when speaking to her a few weeks after the shoot when she is back in London again, it doesn't feel as if I am conversing with somebody I know to be one of the biggest Dancehall artists I know. Instead, the conversation naturally flows through various topics with a few laughs here and there. Throughout the conversation, there is a palpable humility that exists in terms of her artistry and her career thus far, along with all she has been able to achieve. This humility, a quality she has been able to hold through detaching herself from the pressures and titles around her name, is a refreshing aspect of her personality. Although she is very much aware of her musical impact and its effect on the Jamaican Dancehall scene, it's also something she doesn't pay too much attention to. "I try not to soak it in too much. I'm grateful because I told God I would love to be a global artist that people can relate to and enjoy worldwide. He has helped me carry out that task. However, I try not to soak it in because I don't want to get ahead of myself." Rather than staying complacent in her cultural status, it is more about her evolution and growth and how she can continue to do so in a way that keeps her going, "I'm always in a state of wanting to grow and to try to make an impact on new people. I don't dwell on what I already have. As grateful as I am, because I don't want to get lost in what I have, I want to constantly see myself as a person who needs work and who wants to put in work because I'm not where I want to be in life, and I don't ever want to get caught up because of how far I am in life."

One way in which she has been able to display this growth is evident in her musical offerings. From the beginning of her career, which began when she released her 2016 single 'Jiggle Jiggle' until her most recent release, one only has to listen to the catalogue she has accumulated to hear what that growth has been like. Never one should shy away from trying new things and experimenting beyond what one expects from dancehall and its traditional sounds; she has always been able to expand beyond and, in doing so, bring a uniqueness to her sound. 'Never Gets Late Here' displays this perfectly and is rooted in her ability to infuse multiple genres and intentionally sets out to capture global audiences in the way in which she touches on a variety of sounds, but also doing so in a way that makes sure that is still staying true to herself and what people know her for. "Even if I'm doing something new, I try to infuse myself in a way that ties to my culture, whether it be keywords, my accent or drums we use in Dancehall and Reggae. So, it still feels authentic, even if I'm trying to branch out into a different genre for others to enjoy. It's like a fusion, and it's something new.

Coming off the back of ALPHA, her 2022 debut album Never Gets Late, Here is an ascension in her career journey. The album itself is a sonic departure from its predecessor. It puts her at a level where you can see her global reach through her collaborations, ranging from Anitta, Coi Leray, Wizkid, Masicka, and Di Genius. The musical pallet infuses Afrobeats, R&B, and Pop, which still marry into her Shenseea-esqe vibe.

The album has something for everyone and, in so, seems very palatable across the board. Yet it is tied together in a way that makes sense for her in the current position she is in her career:  "In every record I put on the album, I try to make it feel like me. Even if I'm mixing it with Reggaeton, Afrobeats, R&B, or Pop, you can still hear my accent, which will bring them back to Jamaica." 

She acknowledges where this album stands in its place within her discography and how she is very much in the space of figuring things out and playing around with different sounds. And whilst people tend to place a lot of pressure on one's Sophomore album, she realizes that in the journey of things, it's what's coming next that she is looking forward to in terms of what's next for her musically. "Even while curating this album, I was still all over the place because I was dabbling in different genres then. I was still trying to find my niche. The third album will probably be the best one I will create because now I know the business behind the albums and what to put in it—no more of the overthinking I was doing on the first two. Now I see that it's not even that serious. It's still about enjoying and making great music and just having fun, most of all." Even though there are no current plans or anything towards said album, it is more of a prospect of what it will indicate for her and the place she is in. Taking all the lessons and experiences she has had over making the previous two, both of which came at different points in her career, the third one will continue in the vein of growth and evolution, which is something that stands strong to her. "My third album is even more exciting than the first two because I've been learning so much from them. The good thing is that I'm constantly evolving, and people see that's what's important to me."

The trajectory that has gotten Shenseea to arrive at this point in her career has not been without its challenges. There is an element of sacrifice that one has to go through when embarking on the path of being an artist, let alone being on the level she has reached. Between navigating one's personal experiences alongside the pressures and realities that come with the artist's life, there is a lot for one to reconcile with, and staying true to oneself is an important part of making it through all the challenges. The separation between business and creativity has a distinction and shows how she balances both. "The way I view things is more as half and half. You can't take anything too personally because it is a business. It has been hard having to hold back my true feelings because of the business. At the end of the day, we as artists are emotional, but we can't be too emotional because sometimes that does more damage than good and can ruin our reputation if we share our feelings. There is something within this that she has reconciled with, and it is evident in the way she carries herself, protecting herself from the emotional challenges that come with her reality.

On set, one thing evident as she had her breakfast and sat in her hair and makeup, getting ready for the shoot ahead, was the silence and calmness she stayed in as she read her bible. This gave her a continued stillness and calmness that followed her throughout the shoot. Speaking about this and finding peace amongst its chaos is a big part. "I do have my moments of meditation, and I give my thanks daily to God. However, I can also see how prideful and egotistical can destroy an artist and cause them to lose everything. So, I still try to remain humble. It is being able to stay true to yourself amidst the chaos." This is important, especially in the conversation of identity and what it means to be yourself and exist as a human being before anything. In addition to being an artist, the person exists; part of that identity is another part of what makes the artist. "My identity and who I am are also a part of how special I am, what people gravitate towards, and what they fall in love with; I don't want to rob them or myself of that and change myself into someone completely different because I don't have to."

This journey is of constant self-reflection and awareness, especially with all the changes and shifts. Not to mention the pressure that exists. There is something to be said about being the representative or viewed as a representative of a specific genre or culture that exists, which takes you beyond yourself. As anybody knows, the name Shenseea is synonymous with dancehall and Jamaican culture, and what it represents in terms of Jamaican and dancehall culture is very apparent whether or not you are into her music. So naturally, carrying that weight of pressure is something that is felt whether or not it's welcomed in the way that it aspects. Very often, a byproduct of the fact that you're creating art and expressing yourself comes with a sense of representing and speaking for a culture that people view you as, especially on a global scale and with social media that is only amplified to another level. However, getting to this point of this next phase of her career and looking to the future is about removing that pressure and those expectations. "I feel like people have been putting pressure on me, what I've done for Jamaica and the culture, and what I'm supposed to do for Jamaica and the culture. Now it's almost like I took that jacket off and been like an artist, and I just want to be an artist. I don't want to have this huge responsibility. For a long time, I tried to meet other people's expectations. And I don't want to do that anymore. I want to have fun."

Fun is the theme of the next chapter and the next phase of her career journey. Currently embarking on her first North American Tour with no plans of what the next single or anything musical will sound like, it's all about creative freedom, getting the chance to let go, not overthinking and holding onto things, and trusting that everything that is in store will only continue on the path of growth and elevation.

CREDITS;

Creative Director & Photographer: Satori Cascoe - @toricascoe

Photography Assistant: Lana Obied - @interludelanna 

Producer: Seneo Mwamba - @seneomwamba

Production Assistant: Tahirah Thomas - @tahirahtho

Movement Director: Anaïs Watson - @anaiswatson

Fashion Stylist: Jadzia Scott - @jadziascott_ 

Fashion Stylist assistants: Marilena Angelides - @lenaangelides, Yasmyn Ntege - @y.asmyn and Chrisleine Correia - @reiastyle

Project Manager: Zekaria Al-Bostani & Roderick Ejuetami - @zek.snaps & @deeds_art

Set Designer: Shania-Mae Wright - @shaniam00 

Art Assistant: Davinia Clarke - @daviniadesigns

MUA: Marshayna Suban - @marshayna_

Hairstylist: Sheree-Jourdan  - @x_sjourdan 

Hair Assistant: Jaki Henry - @jakihenri 

Gaffer: Alex José - @alexjose.photo 

Lighting & Studio Asisstant: Tobi King - @tobikingsphoto

Design: @deeds.studio @dianeadanna

Studio: Qube West London - @weareqube

BTS Video: Shot by Faces - @shotbyfaces

Writer: Seneo Mwamba - @seneomwamba

Publicist: Aarti Popat @aartipopat @alwaysprotectedpublicity & Tammy Brook @tammybrook

Glam Products being used: MUA Brand: Charlotte Tilbury - @charlottetilbury 

Hair Products: John Frieda- Curl Reviver Moouse, Avlon Keracare - Oil sheen & using Boho locs brand to refresh locs
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Styling: 

Look 1 -  Bra: Claudia Pink @claudiapink Top and Skirt: Grete Henriette top @grete.henriette Choker: Shedean @shedeanjewelz_ Necklace: Shop the mood club @shopthemoodclub Earring: Claudia Pink @claudiapink Nose cuff: Stylist own @jadziascott_ Left side hand: Green and Gold cuffs: Dinosaur Designs @dinosaur_designs Silver Cuff: Claudia Pink @claudiapink Pinky ring: Dosisg6c @dosisjewelry Middle finger ring : mi manera @mimanera_jewelry Index finger ring : Shedean @shedeanjewelz_ Right side hand: Silver cuff : Claudia pink @claudiapink Gold Cuff : Dinosaur designs @dinosaur_designs Middle finger ring : dosisg6c, @dosisjewelry Index finger ring : Shedean @shedeanjewelz_ Pearl belt : Dosisg6c @dosisjewelry

Look 2 -  Latex Dress and stockings by Elissa Poppy @elissapoppy Crochet Dress by Korlekie @korlekie

Look 3 - Custom Pierced Bodysuit : Cameron Hancock @cameronhancock.studio Dress : Ellis Jaz @ellis_jaz Jewelry : Mi Manera @mimanera_jewelryy

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Meet TTO (born Tofunmi Tayo-Oyetibo). A versatile songwriter , afrofusion artist & sound engineer with strong R&B and hip-hop influences.

TTO grew up in Lagos, Nigeria and started making music as part of the duo under the name Inver$e in 2015. He fell in love with music at an early age but it wasn't until 2015 that he decided to take it seriously. He and his friends booked a studio session as a joke not realizing what would happen afterwards.

After recording his first single, the producer urged him to continue recording more music which motivated him.Describing TTO's sound isn't as straightforward. He started out as a rapper before eventually dabbling into multiple genres. He goes a little in depth and says "it's very hard to describe my sound when people ask me because I hate feeling boxed in. I have a lot of unreleased songs and they all sound different from each other. The top 3 genres l'd most likely use to describe my sound right now are Afro-fusion, Afro-pop and alternative rap."

TTO’s latest single “DIFFERENT” showcases his versatility as he continues to explore different sounds. Bringing you into his chaotic yet creative mind, a statement from him that he’s here to stay...

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Wonu Osikoya’s docuseries, Grime, Glory & Afropop, provides a compelling narrative about the journey of Afrobeats and some of the key players usually behind the scenes who have shaped the genre into a global phenomenon. The series is a three-part exploration, each episode focusing on a different music executive who has left an indelible mark on the Nigerian and African music industry.

Part 1: Bizzle Osikoya – From Storm Records to Mavin and Beyond

The career of prominent A&R executive and co-founder of The Plug, Bizzle Osikoya, is explored in the first episode of the series. As Naeto C's road manager at Storm Records, Bizzle's career in the music business got its start. His future jobs, including as his stint with Mo'Hits and later Mavin Records, where he refined his A&R management talents, were made possible by this early experience.

Bizzle's professional turning point came when he left Mavin to start The Plug. Following their split from Mavin, Bizzle lived briefly in America with Asa Asika and Sarz. They met Jay-Z's cousin Bee-High during this time, who gave them the idea to launch their own company. After following this advise, The Plug was founded and has been in business for seven year.

In this episode, Bizzle emphasizes the importance of young people understanding the business side of the music industry. He reflects on how the goal has evolved from merely making Afrobeats global to solidifying its presence on the global stage. Bizzle also draws attention to the way the industry has changed, with less hurdles to entrance, allowing up-and-coming talent to enter the market without the help of conventional gatekeepers.

Part 2: Osagie Osarenkhoe – A Journey Through Artist Management

The second episode focuses on the career of one of Nigeria's leading talent managers, Osagie Osarenkhoe. Osagie’s interest in music was sparked by watching MTV during her youth. This passion led her to study Mass Communication at the University of Lagos, a foundation that would later support her career in the music industry.

Osagie’s first foray into artist management was with Kell Ohia. However, her most notable early work was with Wizkid, whom she discovered as a teenager when he was just 18 years old. Their professional relationship lasted for five years, during which time Wizkid’s career began to take off. Osagie is currently the lead for OneRPM, a data-driven music business solutions provider.

Osagie discusses her joy at the Afrobeats movement's expansion and international acclaim in this episode. She offers insightful guidance for those who want to work in the music business, emphasising the need of knowing one's purpose and the necessity of ongoing education and adaptability. In a separate personal anecdote, Osagie says she likes to play FIFA during her free time.

Part 3: Asa Asika – Building a Legacy in the Music Industry

The last episode provides insight into Asa Asika's career path in the music business. Asa was destined for a career in music because he was raised surrounded by it by his uncle Obi Asika, the founder of Storm Records. Although Asa's uncle had given him a lot of exposure early on, he was keen to establish his own reputation.

Asa began managing Davido in 2011 - 2013, a relationship that saw them part ways briefly before reuniting in December 2016. Together, they have navigated the complexities of the music industry, contributing significantly to the global rise of Afrobeats. Asa and Bizzle later merged their companies with the influence of Brain Biggs, forming The Plug, a company that has become a powerhouse in the industry.

The desire to leave a lasting legacy is what motivates Asa. He emphasises how crucial it is to keep up with industry trends because nobody can be an expert in a profession that is always changing. He gives aspiring musicians two pieces of advice: get as much information as you can and find a lawyer who knows the music industry. It is essential to know your rights if you want to make sure you are paid fairly and positioned appropriately in the industry.

Final Thoughts from Wonu Osikoya

At the end of the series, Wonu Osikoya shares her thoughts on why she started Grime, Glory & Afropop. She took inspiration from the people who spearheaded the Nigerian music industry, those who established the foundation and kept it moving forward. Her intention was to record their tales for the benefit of upcoming music industry generations as well as an homage to their accomplishments.

Grime, Glory & Afropop is a must-watch for anyone interested in the behind-the-scenes workings of the Afrobeats industry. This docuseries not only celebrates the achievements of its subjects but also provides valuable insights into the challenges and opportunities within the Global African music industry.

With its contagious rhythms and exuberant energy, Afrobeats has evolved from a specialised genre into a worldwide movement that is changing the face of modern music. What was once a regional way of expressing happiness, suffering, and everything in between has evolved into a global language that millions of people on different continents can understand. However, what does this now globally popular genre have in store for us in the future? The goal for Afrobeats in the future is to establish itself as a major force in the music industry, not just to stay relevant.

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At its core, Afrobeats is a fusion of traditional African rhythms with modern sounds, creating a unique blend that resonates with diverse audiences. The genre's roots are deep, intertwined with the rich cultural tapestry of West Africa. Yet, its branches are ever-expanding, reaching into new territories and influencing other genres like hip-hop, pop, and even electronic dance music. The future of Afrobeats lies in this very ability to adapt and evolve while staying true to its origins.

The rise of artists like Tems , Wizkid, Burna Boy, Rema and Asake has catapulted Afrobeats onto the international stage. These trailblazers have collaborated with global superstars, topped charts, and bagged Grammy nominations, proving that the genre's appeal is universal. But it's not just about individual success—it's about a cultural shift. Afrobeats' infectious rhythms and feel-good vibes have found their way into mainstream pop, influencing artists far beyond the African continent. From Drake to Beyoncé, major players in the music industry are incorporating Afrobeats elements into their sound, recognizing its power to move both bodies and souls.

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As we look ahead, one thing is certain: the artists leading the Afrobeats charge are not merely riding a wave—they are creating it. Figures like Burna Boy, Wizkid, and Davido have already proven that Afrobeats can not only compete on the global stage but also set new standards. Burna Boy’s Grammy win for Twice as Tall in 2020 marked a historic moment, not just for him, but for Afrobeats as a whole. It was a testament to the genre’s potential to transcend borders and cultural barriers.

But it’s not just about the big names. The future of Afrobeats is also in the hands of emerging artists who are pushing the boundaries of the genre. These artists are experimenting with new sounds, collaborating with international musicians, and infusing their music with messages that reflect the realities of their lives. The result is a genre that is constantly evolving, yet unmistakably Afrobeats at its core. One of the key factors that will drive the future of Afrobeats is its ability to maintain its authenticity while appealing to a global audience. This balance is delicate, but it is also what makes Afrobeats so special. The genre’s lyrics, often a mix of English and indigenous languages, provide a cultural bridge for listeners who may not understand every word but feel the emotion behind the music. This blend of accessibility and authenticity is what will keep Afrobeats relevant in the years to come.

The influence of Afrobeats is also being felt in other areas of the music industry. From fashion to dance, the genre is inspiring a new generation of creatives who are using its vibrant energy as a source of inspiration. In many ways, Afrobeats is not just a genre—it’s a cultural movement that is shaping the future of global pop culture.

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But what's next for this unstoppable force? As we peer into the crystal ball of music's future, several trends emerge:

Genre-blending innovation; Expect to see Afrobeats fuse with even more diverse sounds. Imagine Afrobeats-infused K-pop or Afrobeats meets Latin trap. The possibilities are endless, and these cross-cultural collaborations will only amplify the genre's global reach. Streaming dominance; As streaming platforms continue to shape music consumption, Afrobeats' infectious grooves are primed for playlist domination. The genre's upbeat nature makes it perfect for workout, party, and feel-good playlists, ensuring its continued growth. Cultural ambassador; Afrobeats isn't just music; it's a portal to African culture. As the world becomes more interconnected, the genre will play a crucial role in showcasing the richness and diversity of African heritage to global audiences.

In conclusion, the future of Afrobeats is bright, with endless possibilities on the horizon. As the genre continues to grow and evolve, it will undoubtedly leave an indelible mark on the music world. Afrobeats is not just a passing trend—it’s a movement that is here to stay, a testament to the power of music to connect, inspire, and uplift. The world is listening, and Afrobeats is ready to take center stage.

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Deeds Magazine: Tell us a bit about yourself.

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Citizen B:I started DJing back in 2016 under the guidance of my older brother. During COVID, I really started DJing a lot more. And since then, I've just been on that grind, going on that wave.

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Deeds: What's your favorite thing about DJing?

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Citizen B: What I love most about DJing is connecting with other artists and creatives. DJing is something that opens a lot of doors for me. I'm always grateful for the opportunities that I'm able to get because of DJing.

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Deeds: What drives you to do what you do?

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Citizen B: Well, really, I started DJing because I wanted to make people move in the room. And I wanted to be the curator of that. I wanted to be the person to be able to help them party, help them move. That's been my goal ever since. 

Deeds: Day Parties or Clubbing?

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Citizen B: I do love day party vibes. I feel like they're more classy events during the day. But the clubbing is really where people come alive at night, and that's where I'm at, to help them do that. 

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Deeds: What are you most excited about for tonight’s event?

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Citizen B: I'm looking forward to the events throughout the night. I'm looking forward to hearing the sounds, the artists. A lot of people down there are getting excited, so I'm glad we got some air now.

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As the summer winds down, the impact of Sin’s album, "In The Sticks," continues to resonate with listeners far and wide. Released on March 15, the album has solidified Sin’s place in Seattle’s music scene, showcasing his growth as an artist and the unique sound he’s cultivated. In this exclusive interview, he reflects on the journey so far, the challenges of independent artistry, and what’s next as he continues to make his mark in the industry.

Deeds: Can you share with us the creative process behind your first studio album? How does it differ from your previous EP releases?

Sin: My creative process is heavily driven by inspiration. I write and work when I’m in that creative mode, and that’s when I produce my best work. For this album, I started with five high-energy tracks to really just rap, and then I transitioned into five more chill vibes where I experimented as an artist. The process for this album was much more personal, with most of the work being done solely by me, except for one vocal feature.

Deeds: Your last EP was "Public Enemies." How do you feel this new studio album builds upon your previous work, both lyrically and musically?

Sin: "Public Enemies" was a collaborative EP with my brother and another talented artist, Yblilhoe. We just vibed and created hits together. However, this new album is my creation entirely—aside from one feature and the beat production. I wrote all the songs and told my own stories, making this project a true reflection of my personal growth as an artist.

Deeds: As a young black artist in the industry, what challenges have you faced, and how have you overcome them?

Sin: The biggest challenges I’ve faced have been self-imposed. I’m my hardest critic, always pushing myself to elevate my sound and quality quickly. I’ve only been in this for a little over four years, and the evolution from even two years ago is wild to me. Without chaos, there cannot be change.

Deeds: Seattle has a diverse music scene. How has the city influenced your sound and style as an artist?

Sin: Seattle’s music scene is incredibly diverse, from being the home of grunge to having raw hip-hop and upcoming pop artists. There’s so much potential and growth here. I’m not sure if my sound is like the other artists in Seattle—I’ll leave that to the reviewers—but I like to think I’m developing my own unique sound and telling my own stories.

Deeds: What themes or messages do you hope to convey through your debut album?

Sin: The themes on this album vary. In one song, “Reminiscing Again,” I dive deep into my emotions, while in other tracks, I’m just talking my sh*t. To truly understand my vision, I believe you need to listen to the album from start to finish.

Deeds: Could you tell us about any collaborations or features on your upcoming album, and how they came about?

Sin: I decided to have just one feature on “In The Sticks” because I wanted this project to be mostly about my ideas and vision. I chose A&C for the feature because I believe he has the skill to elevate music to another level. He’s studied the greats and is constantly evolving his sound, which made him the perfect fit for this album.

Deeds: In what ways do you strive to make your music resonate with your audience, particularly in today’s social and cultural climate?

Sin: I don’t compromise my music for my audience. I think my music resonates with people who relate to my experiences or are looking for something fresh. My focus is on providing quality sounds with real lyrics, and I hope that resonates with listeners.

Deeds: As an independent artist, what advice do you have for other young musicians looking to carve their own path in the industry?

Sin: My advice is to stay true to your vision, own your music, and only compete with yourself. If you want the advantage, focus on those aspects.

Deeds: What’s next for you after the release of your first studio album? Do you have any future projects or goals you can share with us?

Sin: My next step is to promote this album and get it to as many ears as possible. I’m looking forward to hearing constructive criticism so I can continue working on my music and improving.

Deeds: Are you planning to go on tour or perform live this year to promote your new album? If so, what venues should we be looking out for?

Sin: I’m currently not interested in touring while I’m still developing as an artist. However, I plan to perform locally and get some venues packed in Seattle. Stay tuned for some great shows coming soon!

The opening weekend of All Points East was a joyous occasion that exemplified the UK festival season. Travelling to East London's Victoria Park two days back to back is not a trip for the weak, but being among the masses in glorious sunshine and high temperatures with sensational sounds coming from East to West made it well worth the journey. 

The opening day of the 2024 edition of the festival was already going to be one for the books as soon as Kaytranada was announced as the headliner. The lineup was studded with the likes of Tems, Victoria Monet, Channel Tres, Felo Le Tes, and Maeta, to name a few. There was no doubt that it was going to be a day filled with exquisite vibes. Of course, all expectations were met, and then, the sum.

Opening its gates at 3 p.m., the afternoon and day were a back-to-back lead-up to the moment that Kaytranada took the East Stage. Having experienced the incredible energy of Kaytranda multiple times before, we already knew there was no way we would be disappointed along the way. Other standout moments of the day included 2024 New Artist Grammy Award winner Victoria Monet, who returned to the UK after being here at the end of last year. 

Back fresh as a Grammy winner, Victoria once again delivered a stunning performance which came through on all accounts. From lighting to production to her dancers on stage, she played with a crowd of 30,000 people who sang with her from the start to the end of her set. Fans who could not catch any of Victoria's sold-out shows back in December could understand why she is truly THE moment, and fans witnessing her talent were entranced and entertained throughout once again, demonstrating her continued start power.

Another standout was our favourite 'Born in the Wild' girl, Tems, who also delivered a stellar performance. As she had just wrapped the European Leg of her 'Born in the Wild' Tour, a tour known for its raw and untamed energy, we were front and centre to witness her yet again dazzle and entertain another crowd. There is something to be said about the effect she has on any audience she plays to, and it is another monumental moment for the Nigerian songstress who has continued to slay her 'Born in the Wild' era. 

A special mention of day one has to go to Felo Le Tee, who also brought all the vibes to the BBC 6 Music Stage. He delivered a killer DJ set that took you from Afrobeats to Amapiano and everything in between. His set was a masterclass, blending different genres and keeping the crowd engaged. Being a part of that set and deep in the middle of those vibes displayed just how diverse the music was throughout the day. The range of tastes and sounds showed that something was there for everyone. 

Of course, the day concluded with the main event, Kaytranada himself, who again did not disappoint. He delivered a killer set of his favourites and infused the newest offerings from his latest album, Timeless. The summer, dubbed a "Kaytranada Summer" for some, was deep in the moment as he closed out the opening day.

I have experienced the magic of Kaytranada three times before, and each time has been magical. Being one amongst the thousands that gathered quite literally body to body, the energy and vibes throughout his hour-and-a-half-long set were a stunning celebration of the musical discography he has built from his early days on Soundcloud up until his latest offering.

Although fans would've expected him to have many of his guests join him on stage as they were present at the festival, only Channel Tres accompanied him on stage to perform Drip Sweat. However, even with the lack of guests, he was able to come through on the highest level.

Having experienced him back-to-back following Felo Le Tee, I felt a different energy and vibe as one left the festival crowd. The excitement of Kaytranada's set lingered in the air as crowds left the site, a testament to the festival's ability to create a lasting impression.

As we returned for the second day, the anticipation was palpable. The stellar lineup, featuring Lianna La Havas, ENNY, Jamz Supernova, DJ Spoony, Andre 3000, and Loyle Carner, set the stage for another day of musical bliss. Once again, the weather was on our side, providing the perfect backdrop for a day of entertainment.

The buzz of the first day continued into the following day, which, however, had a more chilled feel. Witnessing Lianna La Havas was the moment with the sun beating down as she played her set. It was a much-anticipated performance to look forward to, as she has been relatively under the radar since the release of her last album. So, hopefully, this appearance means that new music is around the corner. 

Of course, another highly anticipated artist on the bill was Andre 3000. Many audience members would have gone hoping to hear some old Outkast songs and some of his previous rap material. He delivered a very expectedly unexpected performance as he played his instrumental music. Set on stage with his flute and joined by another musician, the show was a strange sequence of events, which had it in a different setting, it might have delivered. There were instrumentals, animal noises, and a made-up language that ultimately felt like it was the wrong crowd. If it were the case of a smaller crowd that was silent throughout the performance so that one could take what was being offered, it would've made for a better moment.  

In stark contrast to Andre 3000's unexpected performance, Nas's set was a high-energy, stellar performance with the crowd on their feet and going bar for bar as he went through his discography from his classic 1994 debut Illmatic to Magic 3. 

Finally, the night ended with Loyle Corner, who also did not disappoint as he closed out the second day of the festival. Always one to bring a rawness and vulnerability to his performances, this time was no different. It was another powerful performance, which had him accompanied by the likes of Tom Misch as a guest on stage, Poet John Agard, Jordan Rakei, and young activist Athian Akec. 

The weekend was one of blissful joy and energy and another one in the books for festival season 2024.

The opinions expressed in this article are the writer’s own and do not reflect the views of Deeds Magazine

“He does not deserve to be getting this much attention.attention.”

“This person’s song is beginning to sound irritating.irritating.” 

“This person’s song is a red flag!!” 

“Why are they giving this person airtime and attention when there are others around?”

These are variants of comments you will see whenever an artist making a particular genre, looks a certain way or has or has a minority background as far as music is concerned starts gaining massive attention for their music. While this is mostly taken at face as comments from listeners,  the issue goes beyond just listeners' comments. Anytime this conversation arises on social media, there are people on the other side of the field. There are those who address the issues based on facts and point out aspects of the person’s craft that need some polishing or are questionable. There are those who, per their own standards, believe the person receiving attention for their craft is underserving of that, and there are those who are just floating, saying whatever can score them some Elon Musk coins and banger tweets. More often than not, while conversations of this nature surrounding the rise of an artist are not new, the conversations tend to take a somewhat discriminatory and personal turn when some artists come into play. As such, the conversation shifts from the craft to the person’s person and their being. 

The world over there has been and continues to be a class divide. People from one background who look a certain way or sound a certain way are often treated differently from others. The entertainment industry, especially the music space, is no different. The truth is, that class divisions have been in place since creation. While this can be argued, the facts of the matter are that, just like people with money and power are treated special, people who look a certain way get special treatment in some spaces. Case in point: “pretty privilege,” a social term used to describe special treatment people receive as extremely gorgeous by virtue of their physical attraction. There have been instances of colorism where people of a particular skin tone are given preferential treatment over others. We can see the BBL pandemic currently happening in the music industry with people opting to get their bodies done because there is a belief that women who look a certain type of way are getting more attention. 

At its core, classification within the music space stems from multiple fronts, and over time, they have found their way into the minds of consumers. 

Financial

The real class divide in the music industry hangs on finances and access to resources. The entry point for artists and the structures behind them can be a booster for making or breaking an artist. Like Ko-Jo Cue said in his song “Rich Dad, Poor Dad,” some people get a head start in life ahead of others. The same is true for people in the music industry. More often than not, people from a well-to-do family or family who are music royalty always have an easier entry and path to success in the industry. 

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We have seen several artists exploit pre-existing connections to manipulate the industry. While this writer encourages people with existing connections or financial resources to hasten their career trajectory, the continuous exploitation of these routes has created an unsafe environment for all. For the artist's themselves and their colleagues, who are from a working-class background and, as such, have had to claw their way through the ranks, It is this existing class divide in finance that has trickled down into other parts of the industry. There has been less and less emphasis on talent and musicality over the years, with the focus shifting to people who have the financial means. The constant flexing of financial power is causing a financial burden and imbalance in the space. People are getting priced out of services because people are overpaying for the bare minimum of services, making it harder for talented but financially handicapped artists to acquire such services. 

Today, people are on social media crying for more emerging artists to break through, but unbeknownst to them, service providers and people within the industry are overlooking talent and focusing on who has the connections and financial bank to fill their pockets, and by so doing, denying consumers quality art. It is actions like these that continue to raise concerns about industrial plants. Many people regard being offered a shortcut to success because of their background and/or resources. 

Photo credit 09Seyram

Art-to-Art 

The bias and unscaled nature of the industry trickle down to how artists themselves view and treat each other. Artists that have an aesthetic and make a certain genre of music often think of themselves as superior artists or more talented. While some people are more visibly and sonically talented in their writing, vocals, and overall branding and imagery than others, talent is just a piece of the puzzle for success. There are constant arguments on social media about a genre being superior to another, which is a topic for another time, but the entertainment aspect of music separates songs from each other. Some songs not being for a particular occasion does not mean they cannot be used elsewhere. 

However, the entitlement that talent equals success needs to be debunked. The entitlement has made artists who, despite their talent, do not enjoy the attention they deem worthy of their talent behave and belittle artists who may not be as talented but have garnered the attention that they earned through their craft.

Preferential Treatment 

Another instance is when preferential treatment is given to people based on their level of attraction, tone, or complexion. Time and time again, there have been stories of people being presented as the beauty standard. As such, we have seen people get body shamed and experience mental health breakdowns because people have been abused verbally over their complexion or features like dark spots or straight marks. While being an artist comes with some expectations for how you carry yourself, there are times when some of these should be overlooked. Especially things that are beyond the individual's control. People within the industry and consumers alike must learn to be tolerant of people and the diversity they bring to the table. The constant favouritism meted out to people in particular in turn creates self-hatred and inferiority complexes among people.

Concluding Thoughts

There is a school that believes no one should be denied the opportunity to create. Rather, there have to be structures that can create a more even field for all to play and indulge in, as well as systems in place where knowledge and skills can be acquired to pursue a career in music. . There should be room for people who make any genre of music to be heard and celebrated without having to be met with anger from others who feel entitled to the same level of attention. 

When an industry fails to create structures to allow the best of the best as far as talent is concerned to thrive and only focuses on money, people who have the financial means to break through the glass ceiling will rise through the cracks, and they will be a reflection of what the industry is. It is the fraud of seeing people who are not putting out “quality” at the top that gets consumers riled up to come at others who are enjoying commercial success despite having lesser talent depth. Music experts will tell you that talent is but a fraction of what it takes to succeed. As such, if the industry wants its best talents to be at the top, creating quality music alongside the others, it must strive to create an equally structured system where both the rich and struggling can still pursue music. 

Classism transcends the music industry and is not likely to go anywhere soon. The least industry and consumers need to do is create an environment where people can pursue their art and not be made to feel lesser. The industry should create structures that support those who may not have the resources of others. Art is diverse and inclusive; as such, there should be room to celebrate all this diversity. Whether we see that happen anytime soon is another story.

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Winny has a voice that lingers in your mind long after the music stops. Meet Winny Adanu, known simply as Winny, an artist who's breathing new life into Afro-Reggae. Her latest single, "Take Me," is turning heads with its infectious blend of rhythm and soul.Hot on the heels of her debut EP "WINNY," this rising star is proving she's no one-hit wonder. With a sound that's both familiar and groundbreaking, Winny is carving out her own niche in the industry.  In an exclusive conversation with Deeds Magazine, Winny shares the inspirations behind her music, exploring the experiences that shape her unique sound. 

Get ready to discover an artist who's redefining Afro-Reggae. This is your backstage pass to the next big thing in African music.

Deeds Magazine: Can you walk us through the creative process behind 'Take Me'? What inspired the lyrics and the overall sound of the track?

Winny: I would say love and vibes inspired me. 'Take Me' is one of those songs where I’m expressing my longing to spend time with my lover and reminiscing about our future together. I wrote the song with a close friend, the producer, at his house, and we recorded it while eating pizza.

Deeds Magazine: The production and mixing team for “Take Me”, include BeZaking, Othniel Yakubu, Sam Harper & Alonzo Vargas. How did these collaborations come about?

Winny: BeZaking is my very good friend. My team reached out to Sam Harper to mix the song and the feedback was great. He showed so much excitement and I was happy he could do the job. Before the final version of 'Take Me,' we had a few back-and-forths, including some changes to the verses and chorus. The collaboration came about naturally, through connections in the industry and friends who believed in the project.

Deeds Magazine: What was it like working with Lady Donli as the creative director for the cover art for “Take Me”, bringing your vision to life visually?

Winny: Donli is very creative, and she understands my brand well. We worked closely together, and I trusted her vision for the creative direction. It was cool to have her on board as the creative director, and the rest of the team contributed their expertise to make the visual aspect of the song as impactful as the music itself.

Deeds Magazine: This song also marks your first official feature on a single. Should we expect more collaborations going forward?

Winny: Yes, I love working with people, and I’m open to more collaborations in the future. It’s exciting to see what can come out of combining different creative energies.

Deeds Magazine: Transitioning from Jos to Lagos, how did you successfully adapt to the fast-paced Lagos lifestyle while also establishing yourself in the music industry?

Winny: Moving to Lagos didn’t feel like a big transition for me. I see it as another part of Nigeria, not overwhelming at all. I think Jos taught me calmness, while Lagos brings out a different energy. Combining those energies creates a unique balance that influences my music.

Deeds Magazine: How do you define your music, and what are your thoughts on the direction your sound is heading? Do you see yourself fitting into an existing genre within the Afrobeat space, or do you feel you’re creating a new branch entirely?

Winny: I don't see myself fitting into any specific category. I'm an Afro-Reggae singer, but my sound is always evolving as I experiment. I love trying something new; there’s always something fresh to explore.

Deeds Magazine: Many of your songs, including 'Take Me' and those on your debut EP, touch on themes of love, relationships, and personal growth. How has your personal journey shaped your music, and what message do you hope your listeners take away from it?

Winny: I'm in love, and love is a major theme in all my songs. Love is beautiful, and life is love. I want my listeners to feel connected to me and understand that I know what they’re going through, what they’ve been through, or what they’re currently facing. It’s all about connection and feeling understood.

Deeds Magazine: As an artist who is quickly rising in the Nigerian music scene, what challenges have you faced, and how have you overcome them?

Winny: I would say that most of my challenges are attributed to the stage at which I am right now in my career. I just feel like whatever challenge I'm going through, I have a great team that is making it easy for me. So I don't really see it as a challenge; I feel it’s part of my growth process.

Deeds Magazine: With 'Take Me' out now, what can we expect next? Any upcoming projects or collaborations that you’re excited about?

Winny: Oh, I like to keep some surprises, but I just finished rounding off my EP, so hopefully it will be out soon, definitely before the year ends.

Deeds Magazine: As a bonus question, do you have a special name for your fanbase?

Winny: I've not decided on that yet. I feel like they should decide for themselves.

Deeds Magazine: We suggest “Winners”.

Deeds Magazine: Thank you so much, Winny. It’s been a pleasure talking with you.

Winny: Thank you for having me.

Winny is more than just a fast rising star; she's a storyteller whose music resonates with the complexities of love and life. With "Take Me" already making waves, and an EP on the horizon, Winny is poised to make her sound known! Her ability to weave personal experiences into relatable anthems is what sets her apart—and it’s clear that she’s only just beginning to scratch the surface of her creative potential. Keep an eye on Winny; she’s a force of nature in the making.

When Valiant arrives for his Deeds cover shoot, he is a few days fresh from playing Wireless Festival to a crowd of eager fans who have been eagerly awaiting his performance. The performance in question is a moment for him, as the global Dancehall artist has continually grown his musical presence since his viral moment in 2022, which brought him to the music space through social media.

Since then, his career has transcended beyond expectation, with several chart-topping singles and award nominations, and his impact has grown through his use of social media. He has been able to utilise social media's power and continue spreading the next generation of Dancehall talent across borders beyond. 

As a self-taught vocalist, he has been able to cultivate his own music career. The two years in which he has had a presence in the music scene have been unique. His sound has grown and developed because of his individuality and passion for music.

Now, at a point in his career that is about growth and opportunity, we spoke to Valiant about everything from social media to the next generation of Dancehall, his fans, and a lot more. 

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For people who may need to be made aware, who is Valiant?

Valiant is a humble, fun-loving, hardworking youth from Jamaica who loves music. I started making music in my community, and through hard work and dedication, I've been able to share my talent with the world.

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What was it like growing up in Jamaica, and how did music become what you wanted to do with your life? 

Growing up in Jamaica was a mixture of challenges and beautiful moments. Music was always around me; it was a part of everyday life. I found peace in it, and it's my form of self-expression. It quickly became my passion and is my way of contributing to my culture.

You represent a new generation of artists in Dancehall. Given its position in the global musical landscape, what does it mean for you to be a Dancehall artist right now?

It means everything you know; Dancehall is an influential genre and has contributed much globally. It has also undergone many changes over the years. Being a Dancehall artist now means carrying that legacy forward while pushing boundaries and innovating within the genre. 

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Social Media has had a big part to play in your career. How have people been able to find you, and how has your music been able to travel all over the globe? How has that impacted how you make music? 

Social media has changed the game. It allows me to connect directly with my fans and get immediate feedback. It also pushes me to be more creative and authentic because they can tell when you're being real versus when you're not.

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In this digital age, how do you continue to create lasting moments when social media puts almost a 24-hour timer on things to be engaged with?

Truthfully, I focus on making an impact through the music. If the music resonates, that will create a lasting moment regardless of how fast-paced social media can be. 

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You have played shows all around the world, and you just played to a crowd of 50,000 in London. So, what is that experience like seeing your music translate outside of social media and people engage with you all over the world?

It's an incredible feeling. Seeing people from different cultures and backgrounds vibing to my music and singing along is surreal. It shows that music is a universal language and that Dancehall has a global reach.

What has been the biggest 'I can't believe it' moment you have experienced so far?

There have been so many, and I am grateful for that. Most recently, though, I came to the Wireless stage for the first time and heard everyone sing my songs word for word. Wow, what a moment. 

Who are you listening to at the moment?

Right now, I'm listening to a mix of artists. I like to keep my playlist diverse, so you'll find everything from 90s Dancehall to Afrobeats, hip-hop, R&B and other similar genres.

You have had several hits in your career so far. Which ones would you say have been the ones that surprised you people responded to the most?

One of the tracks that surprised me the most was "Dunce Cheque". How people connected with it and how it blew up was unexpected, but it showed me that authenticity resonates with people.

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You have spoken about how a lot of your musical journey has been due to the fact that you were self-taught and have done everything by yourself. So, getting to this point in your career, what has that process and journey been like?

It's been a challenging but rewarding journey. I've had to learn a lot on my own and make a lot of sacrifices. But every challenge has made me stronger and more appreciative of where I am today. It's taught me resilience and the importance of staying true to myself.

In a time when Amapiano and Afrobeats had a massive global takeover appeal, where do you feel Dancehall sits in today's international music landscape?

Dancehall remains a solid and influential genre. It's the foundation for many other genres and continues to inspire and influence music worldwide. It's evolving and adapting and will always have a place in the global music scene.

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What does this time represent about where you are in your career?

This time represents growth and opportunity. I'm at a point where I can reflect on my journey and look forward to new challenges and achievements. It's a time to solidify my place in the industry and continue to make impactful music.

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You have cultivated a solid and engaged fan base tuned in to everything you do. How is your relationship with your fans?

My fans are like family to me. They support me unconditionally and keep me grounded. I try to interact with them as much as possible, whether through social media or at shows because none of this would be possible without them.

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As a new school dancehall artist pushing Dancehall on a global artist, what other artists can you put us onto?

There are a lot of up-and-coming artists doing great things in Dancehall. Keep an eye on acts like Armanii, Rajah Wild and more. They're bringing fresh energy to the scene.

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What do you want your impact to be in the music landscape?

I want my impact to be one of inspiration and innovation. I want to show that staying true to your roots is possible while pushing the boundaries of what's possible in music. I want to inspire the next generation to dream big and work hard.

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What are you working on at the moment, and what can we expect from you next? 

Right now, I'm working on new music, possibly an album and planning more performances. You can expect more collaborations and exciting new projects to showcase my artistry's different sides. 

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CREDIT

Photographer: Eazy Visuals

Creative Director: Zekaria Al-Bostani

Producer - Seneo Mwamba

Stylist: Kiera Liberati

Publicist: Tahirah Thomas

Interview: Seneo Mwamba

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Ahmed Olalade, popularly known as Asake, released his third album, Lungu Boy, August 9th, which encapsulates the essence of his musical journey. The album, named after the Yoruba term "Lungu," which refers to a hidden, personal space where one is free and confident to be his/her self, is a thematic exploration of Asake’s journey from the streets of Lagos to the international stage.

One thing is clear: Asake didn't write this album for the fans; he wrote it for himself. He has anticipated this moment in his career, often saying, "I just dey blow, but I know my set." Lungu Boy is a manifestation of Asake's vision coming to fruition. This is an album crafted by a global superstar for himself, filled with themes of hustle, resilience, echoes from his past and the realities of his current life.

The album opens with an adlib of Asa’s Ojumo ti mo, setting the tone for what’s to come. 

The first track, MMS featuring Starboy Wizkid, sets a reflective tone for the Album. With lyrics like "Oye Olohun" (meaning "God understands"), Asake and Wizkid share stories of gratitude, acknowledging that although the unexpected happens, and tragedies occur, God understands, and they remain thankful. Wizkid's verse is particularly personal, reflecting on the loss of his mother, which adds a layer of emotional depth to the track.  The production on this track is exceptional, with rich percussions, trumpets, and an overall vibrant energy.

In Mood, Asake delves into his daily realities: “Some days I'm feeling jovi / Some days I'm feeling gloomy / Some days I'm feeling like I no wan chill with anybody” … “Sometimes I pick my key and drive around, they think I'm cruising / DND no disturbance / Take a new ink to feel normal / Losing my mind with a G face / Ọmọ no reflex when I feel pain / Life is a race, keep it running / Face my fears, keep it solid / Allahu akbar to my maker / Bow my head, I feel so grateful.” He repeats his first verse in Spanish which shows he is willing to experiment and push his sound to even new audiences.

In My Heart, Asake shows his softer side, singing about love and what it means to him. The song reveals the "lover boy" in Asake, offering a refreshing contrast to the rest of the album.

‍WorldWide needs no introduction. Asake declares his global status, stating the obvious with lyrics like, "Mr. Money Worldwide / E don go oh." His features on the album—Travis Scott, Wizkid, Stormzy, Central Cee, and Ludmilla—are a testament to his international reach. Production brilliance from Sarz, P.prime, Magicsticks, SAK PASE, The Compozers.

‍Active, which was released shortly before the album and features Travis Scott, is a high-energy track. Asake samples Jazzman Olofin and  Adewale Ayuba’s Raise Da Roof, blending Hip Hop, Amapiano, New Orleans Bounce, and Funk into an uptempo party anthem.

‍Surulere featuring Stormzy mirrors the vibes of MMS. With lyrics like "Ise Oluwala ko seni to ye" (meaning "God works in mysterious ways"), Stormzy’s impeccable storytelling and flow complement Asake’s tempo and vibe. The song touches on advice from Asake's mother, his daily realities, prayers, and giving thanks to God.

‍Skating is a track where Asake sings about his new found hobby—skating—and manages to turn it into a vibe. This track reinforces that Asake made this album for himself, as his personal interests are front and center.

‍Mentally delves into Asake’s daily thoughts and the strategies he employs. He blends Afrobeats and Amapiano seamlessly, offering a straightforward narrative about his mental state: “I strategize, I give thanks.”

‍Ligali switches up the vibe with exquisite production by the legendary Sarz. This track is an instant club anthem, with lyrics like "Blow my trumpet gan, Olohun, uhhn / O den gbe mi de'be gan, Olohun, uhhn" (which translates to "You take me there a lot"). Asake indeed takes us there on this track.

‍Whine featuring Ludmilla is a standout track that effectively fuses Ludmilla's Brazilian flair with Asake’s signature sound, creating a track that is both playful and energetic. The song’s production leans heavily on percussion, making it a danceable tune that could easily find its way into clubs across multiple continents.

The final track, Fuji Vibe, has been eagerly awaited by fans for years. First teased about 3 years ago, the fully produced track is finally here. This four-minute track is sensational, and its release signifies that Asake has always been that guy, even before his fame.

‍Lungu Boy is a masterful display of self-expression, a deeply personal project that highlights Asake's unwavering dedication to his craft and his journey. By staying rooted in his origins while embracing his global stature, Asake delivers an album that is both introspective and celebratory. This project isn't about catering to mainstream expectations; it's about creating something authentic and meaningful to him. As a result, those who resonate with Mr. Money's unique sound will undoubtedly connect with this album, appreciating its depth and authenticity.

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How do you feel you have been able to cultivate the sound that you have now?‍

It's always been about making music that feels most natural to me at any point in time. That's usually the first and most important factor or the foundation of my musical life. I'm not the kind of artist who doesn't make music just because a particular sound is trending or whatever. So, I always stay true to myself. I always work for me most of the time, and that's how I've cultivated my sound over the years.

 You have stepped into a new chapter in your career and started your own label, Young Legend. What inspired the name, and what would you say were the moments that led to this for you? 

 The major inspiration behind that name is that you're young enough to do legendary stuff. The idea of Young Legend is that you can be young, and it's never too early to do big things. I'd say the first time I got inspired was when somebody in the industry, Tunji, sent me a DM and said, "You're a young legend," I really connected with that. It's always been my dream and goal to have a platform that I can use to support other artists. Young Legend is not just about me. It's about helping very talented, creative people. Not just musicians but also videographers, photographers, and content creators are creating that safe space on a platform for creatives to thrive. Coming from where I am, there is so much talent, but there needs to be more infrastructure. I want to pay it forward by creating a platform that supports other creatives.

 What does this experience of doing things your way look like, and how does it feel different from what it was like before?

 I've become more intentional regarding my rollout and the marketing and everything; it's a bit freer for me, it's not too planned out, and I get to be more involved in the process. When you are at a label, you have people who handle everything, so you're less involved. One thing I've always been in love with is the process. I like to see things start and where they will end up. I love the process, from shooting videos to recording songs and everything, so that's what has been different for me.  

You released the short film with Qing Madi for the track you collaborated on, and that was a very different way for you to display your creativity. What was the whole experience of making the film, and how did the idea come about?

 That video was about the importance of teamwork. Thankfully, I have a solid team passionate about the dream and the goals we want to achieve. I wouldn't say the acting or the short movie was my sole idea. We brainstormed on it, and everybody came up with the fact that, oh, is this something we can do? I didn't want to feel like anything was too crazy to achieve. I cannot stand it, no matter how crazy the idea might seem. Let's see if I pull it off and think outside the box. That's been my mindset since the start of the year. I want to do things differently on a different scale. Have people say, okay, this guy's on his name. So yeah, a big shout out to the team for putting everything together and to everybody who came up with the idea.

What was that experience like of working with Qing Madi?

Qing Madi is a very talented artist. I remember that I posted a video of one of her songs sometime last year because I've always loved her sound, even before she broke through the mainstream. I've been following her journey, and when I made the song, I said Qing Madi would be a good fit for this. So I sent it to her on a team, and they loved it. She jumped on it, and it's such a great collaboration. And she is the first female artist I've done a feature with; I've worked with women in other aspects but never actually on a song, so yeah. I had the song with my producer, and I asked him if it would be a good fit for Madi, and then I sent it to her. We didn't record it in person; I just left a place for her in the song, and then she killed it, so it was a very smooth process.

From where you are now since you began, how has your creative process changed?

Regarding my creativity, I like keeping the process the same. I occasionally try different things regarding my recording process when working with other people. I have since learned to record myself, and it's been fun, so I don't need to wait for a sound engineer or a producer, which has meant that just being able to make music and record is so much easier and smoother for me.

As you embark on this new chapter of your career with Young Legend and look back on everything you've done to get to this point, what has that journey been like for you?

 It's been such a beautiful journey. It just helps me understand the way life is. I wasn't sure when I came to the game, and I was always so uptight with things. Then I realized you can do it; being young in the Nigerian music industry is no joke. So, being able to put out fantastic music consistently means you're doing something right. And so, for me, it's been a beautiful journey of acknowledgement that whatever effort, time and energy into my music career has not been in vain because things keep getting better and more extensive.

How have you been able to maintain the same mindset in navigating all of the ups and downs and everything that has happened in your career?

 This time has been the best I've been mentally. I'm more confident, more daring, and more willing to try out different stuff.  I don't. I don't move with fear anymore. I do it if I want to do something, regardless of the outcome. I have learned to fall in love with the process, and I have found that it means that you always do well because I feel like when you are focused on getting results and don't get the results, you feel discouraged. However, when you fall in love with the process, you enjoy everything more; I enjoy making music, shooting videos, putting my music out there, connecting with fans, and just falling in love with that process makes it a lot easier. It takes a lot of stress off your mind; you don't really move with expectations or results. Results will always be great, but as a creative person who wants consistency, you have to learn to fall in love with the process.  

What advice do you have for young artists?

The biggest thing for me is being unapologetically yourself. If you're a lover, boy, own it with your chest. If you're a girl, own it with your chest. Don't try to portray yourself to be somebody you're not because what usually ends up is you end up keeping up with an image that you've given the world that's not really you, and that also leads to mental stress. So when people like you for who you are, you know it's true; if people don't, at least you know it's real. Don't expect everybody to like you. So, that's one: stay true to yourself, be open to learning, and be consistent. Try to show up every day and look for a way to improve yourself. Don't get too comfortable; save your money when you make money.

In this moment of your journey and where you are in your career, how does this moment speak to where you are and the space that you are in, how you are feeling about everything, and what you have in store for the future?

It's such a crucial moment for me. I've never felt so much more at ease since the beginning of my career. I've had mental clarity; productivity is at a very high level, and a lot of results. The results for me being in this state right now will show off in a few months. It's going to pay off, and it's going to be heavy. There are plans in motion, and I'm 100% ready for music showing up and ensuring everything's well. Everybody involved is just ready to go, ready to put in work, and when all these factors are put in place and balanced, the sky is just the beginning. I'm excited because I know what's coming in a few years will be incredible, and it's about staying ready.

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CREDITS

Project Manager: Zekaria Al-Bostani: @zek.snaps.

Producer: Seneo Mwamba: @seneomwamba

Photographer: Joshua Kinsella: @kinsellz

Stylist: Mh’ya Mclean: @mhyamclean

Photography Assistant: Will Sousa: @wc_sousa

Design: @deeds.studio (@dianeadanna)

Studio: Blankboxstudio: @blankboxstudio

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Nigerian superstar D’banj recently revealed the track list to his much-awaited fifth studio album titled “Entertainer - The Sequel” which is due to be released on August 9 via DB Records. 

Oladapo Daniel Oyebanjo, more commonly known as D’banj described his new album as a musical project which he hopes will represent the journey and development of African music on the international scene. 

He said: “Life is a maze of self-discovery and my new album “Entertainer - The Sequel” confirms this truth to me. 

“It truly reflects my growth as an artist as my continued commitment to pushing boundaries of African music.”

“Entertainer - The Sequel” will delve into multiple genres such as Afrobeats and Afropop to showcase how far the African music industry has come in recent years. 

The 11-track project will include two bonus singles as it follows D’banj’s hit 2008 album “Entertainer”  which featured some of his most popular and recognisable songs to date such as “Fall in Love” and “Igwe.”

Recently, he has described himself as an emerging artist despite being at the height of the Nigerian music scene for more than 20 years. His latest project is set to reflect this sentiment as he revealed plans to work with the new generation of African artists both inside and outside of Africa. 

The album will feature some of the biggest names in modern African music including Grammy winner Haitian rapper Wyclef Jean, Congolese singer Awilo Longomba, Senegalese musician Youssou N’Dour, American star Akon, and South African musician DJ Maphorisa.

To showcase and highlight the success of his mentorship scheme Cream Platform, the Nigerian singer will also feature his talent discovery project Specikinging who currently, is making a big name for himself with hits including “AKaaba” and “Resolution.” 

Earlier this month, D’banj dropped one of the songs off the album titled “Worthy.”The single was accompanied by a music video shot in Nigeria and Senegal and directed by the talented Clarence Peters. 

The track, which featured Youssou N’Dour and rising Nigerian-American singer Chechi Sarai, gave fans a taste of what the rest of the album will encompass and created high expectations, with the song quickly garnering positive reviews across social media.

In a statement following the song’s release, he said: “Behind every song is a story, and “Worthy” off my upcoming album holds a special place in my heart. Collaborating with the legendary @youssoudour1959 has been an honour beyond words. 

“Having @chechisarai put her incredible vocals on the track, with @eskeezondbeat producing and @clarenceshotit directing the video, made this journey even more special.”

“Entertainer - The Sequel” is available for pre-save now. 

Here is a full run-down of the album: 

1. World Famous
2. Healer (ft. Peruzzi)
3. Kala (ft. Awilo Longomba)
4. Yours Truly (ft. Phyno)
5. Koko
6. Serious (ft. Egypt 80 and Chuchu Lee)
7. Since 04
8. My Melody
9. Worthy (ft. Youssou N’Dour and Chechi Sarai)
10. Peaky Blinders (ft. DJ Maphorisa)
11. I Am Legend (ft. Wyclef Jean)

Bonus Tracks:

1. Taya (ft. Timaya, Kayswitch, Zlatan, Bhadboi Oml and Specikinging)
2. Koko Remix (ft. Akon)

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When it comes to talent representing East Africa, there have been artists who have emerged and displayed what they have to offer. From the likes of Diamond Platniumz to Sauti Sol, who has been heavily representing the space in today's musical landscape, there has been a surface of the music that has seen a new generation of artists such as Karun, Xenia Manasseh, Zuchu, to name a few.

 Rayvanny is one of the players who cemented his presence by waving the East African flag through his mentor Diamond Platniumz, who came through via his Wasafi, which he signed back in 2016. From that moment on, his nearly decade-long career has seen him grow and rise above anything that has been expected from him, taking his musical sounds of Bongo Flavour and more beyond the region and placing them on a global scale.

 He has continuously evolved and expanded his musical talent beyond what would have been expected from him. Describing his sound as "music for the world," the statement could not be truer, as he is a BET Award winner and the first African artist to perform on the MTV EMA stage. Not to mention, he has boasted collaborations from all across the African continent and beyond.

 Now stepping into the next phase of his career, he launched his record label, NEXT LEVEL MUSIC, to continue to grow within his musical journey and search for and foster the next generation of talent.

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How would you sum up how your music career began?

I started doing music when I was still in school. There was a freestyle competition because I was a rapper back in the day. So, I went to freestyle competitions, and this was in 2011. I won in my city, but that competition was all around Tanzania. So, when they found those winners from different cities, we went for the final, and I was the winner. So the people who were the supervisors took me to a studio, and then I met the label Tip Top connection, where I was there for three or four years, and I moved to Wasafi. That was in 2016 when I dropped my first song, Kwetu, which was when I started gaining popularity.

Please speak to us about being from Tanzania and representing the country in the way in which you have with your music.

 First of all, I'm so proud of my country, and I'm so proud to represent my country everywhere I go. Because it's not only for me, it is for the industry; big shout out to Diamond Platinumz, my brother. I'm so happy to expose my music and have people listen to my sound. But what I'm the most proud of is that my music represents my country everywhere I go. I like to incorporate or collaborate with different musicians from around the world. My mind is about more than just making music for East Africa or my country. I must do music for the world so that the world can understand what we have back home. I'm not doing it for myself because when our music industry is recognized worldwide, you know, it's a good business for the generation of my country. And that's what I'm fighting every day: I have to do it and represent the culture. So, representing my country worldwide is a good feeling.

Speaking of going international, you've collaborated with a variety of artists from across the world. One of your more recent collaborations was with US rapper DreamDoll. How did that come about?

 I dropped Shake Shake with DreamDoll. My queen from the US, she's from New York. I was in LA, and one of my friends was playing music, and I heard a song of hers playing. I just liked what she was doing and wanted to walk with her. My friend put us in touch and let her know I was a fan of her stuff, and she asked if he could share some of my stuff with her. So, I just sent her the track, and we managed to get it.  So that's how the song came about,

How have you been cultivating your music and expanding it beyond the expected sounds of what people expect coming out of Tanzania?

 Music to me is a universal language, and if you say you're doing Bongo flavour, or you're doing Afrobeat, or whatever style of music. For myself, I'm doing worldwide music because my music is like a fusion of everything. You know, you can hear Afrobeat in it. You can have Bongo flavour, whatever; I mix everything and do something for the whole world. I can make music in my own language, but I want the whole world to relate to that sound, so I'm chopping different sounds from different parts of the word. I don't want to. I don't want to put my music in a category. I like all the sounds from Africa, from America, from everywhere. What I like right now is the whole world is paying attention tour music to our African music. I'm not a musician from Tanzania. I'm a worldwide musician from Tanzania. I'm not doing not just one category of music.

You formed Next Level Music two years ago. What has that experience been like, and how did you get to the stage where you are in your career now?

 To get to this stage, I have to give thanks to God first of all. They are life stages; for me, it's been about growth. I was signed to a label and found that when you grow up musically, you must move on and help others. The point I am right now is that I've had help from people who have been a part of my journey, picking me up and getting me to this stage. And from here, I'm grown enough to lift other musicians and help other talents from the streets. In addition to chasing my dreams, I need my free space. I have to see how I want to be and where I want to go. So it's all about growth and stages in life, and you have to move from one place to another. I'm so happy, and I'm so proud of myself at this stage. I was on a label, and now I'm independent, and I have to help other talents from the streets and move forward in my career.

There is so much new talent coming out of East Africa, and as somebody who is in the position now to be looking at new talents and artists to help in the same way you received help at the beginning of your career, what do you look for in new talent?

 First, I'm looking for talent; I can always see something when I look at an artist, and I recognize that there is a talent within them. However, discipline is also essential because you can have the talent, not the discipline you need. Having a spirit of hard work is one of the things that I consider, but this new generation has different ideas. They are on the internet, they see things, and they take in so much stuff online, and they take those things and interpret them in their way. We need to have new blood and fresh minds because if we want to move forward and our industry to be big and grow, we have to look for this new talent. It's not only us that can take it to the next level, so we need these new kids. There is so much talent out there, and it's untapped. They don't have the resources to chase their dreams, so we have to open more Next Levels to motivate them and help their lives. It's our responsibility, and we must help these kids.

In everything you have experienced in navigating your career and staying true to who you are as an artist, what would you say has helped you stay true to the core of who Rayvanny is throughout everything?

 I believe in God. I'm a god believer, and being a a god believer, when I have a plan, when I have a focus, of course, I can listen to different advice that I that I get, but I'm that person that always follows my focus and believe in God, I think that's the key. There are a lot of obstacles you can face, a lot of stuff that can hold you back, or you can feel like you cannot do it anymore. There's that kind of feeling sometimes, but to me, nothing like that when I have my focus. When this is going to happen, it's going to happen. Nobody will tell me, you cannot do it, this is impossible, this is not good for you, this doesn't fit you., I always follow my focus and believe in God, and most of the time, it happens. Whenever I plan, it's always successful. So, I think that's the key when I have my focus: I follow my goals and believe in God.

What can we expect from you in this next chapter of your career with your new music and everything you have in store for the future?

 Okay, I don't want to tell you now, but it's next level. Next-level shit like it's global, shows, performances, numbers, everything—next level. Just wait and see.

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CREDITS

Photographer: Garry Carbon: @becauseimgarry

Assistant photographer: Reheem: @devantayj

BTS videographer: Sheldon: @worlmag

Creative Producer: Zekaria Al-Bostani: @zek.snaps

Project Manager: Nadia Muwanga: @diditforthegram

MUA: Niamh mcaleenan: makeupniamh___

Stylist: Rachel Onilude: @sinmistyles_

Journalist: Seneo Mwamba: @seneomwamba

Design: @deeds.studio (@manuch1m & @shalemalone)

Location: Blankbox studios: @blankboxstudio

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COLORSxSTUDIOS is a platform that showcases the finest talents around the world. The online music platform has introduced upcoming and ongoing established artists for years and what makes this show so unique is through showing the talents from around the world, no matter the demographic or geographical aspect of the artist. This specific episode shines a light on the revolutionary, sublime and individualistic performance of South African artist Moonchild Sanelly. She sets the COLORS stage ablaze with the electrical performance of her single ‘Sweet And Savage’.

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Moonchild Sanelly (born Sanelisiwe Twisha) is a South African musician and dancer from Port Elizabeth. She stems from a very strong creative background as her mother is a jazz singer, her  brother is a hip hop producer and her cousins are kwaito dancers. Her career started in 2005 when she relocated to Durban to study fashion at the Linea Fashion Design Academy and she would perform poetry and hip hop at the Durban University Of Technology. She would go on to feature regularly on radio on the weekend show called “Poetry with King Siso” on the South African radio station Gagasi FM. She pursued her music career and went on to release her debut album ‘Rabulapha!’. In 2015 which earned her a nomination at the 22^nd South African Music Awards for “Best Alternative Album”. She was then discovered by Red Bull through a feature she did on South African DJ Shimza’s EP. She furthermore went on to work with major South African artists such as Distruction Boyz, DJ Maphorisa, DJ Tira Kabza De Small, Focalistic and Major League DJz. Her genre ranges include Gqom, Amapiano, House and Dance-pop. 

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In 2019, Moonchild Sanelly featured on “Beyoncé’s The Lion King: The Gift” soundtrack for the single ‘My Power’ alongside fellow South African singer Busiswa, South African DJ Lag, Nigerian singer Yemi Alade, American singer Nija and American rapper Tierra Whack. Other African artists featured in the soundtrack included Nigerian artists Burna Boy, Tekno, Mr Eazi, Tiwa Savage and Wizkid. Later that year, she released her ‘Nude’ EP. She entered 2020 with the collaboration with Amapiano duo JazziDisciples on their album ‘0303’ with the hit single ‘Askies’ and she also featured on the British band Gorillaz seventh album ‘Song Machine, Season One: Strange Timez’ on the single ‘With Love To An Ex’. In 2021, she featured on the BET TV Show “Madness Method” and her single ‘Yebo Teacher’ was released. She added another international feature to her belt as she collaborated with British band Sad Night Dynamite and British rapper Trillary Banks for her second studio album titled ‘Phases’ which was released in June 2022. 

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Moonchild Sanelly adds a unique twist to her artistry as she fuses multiple musical elements such as Afro-punk, kwaito, jazz and hip-hop into her sound. She infuses her home language isiXhosa into her lyricism and does so in both her local and international sound. She takes a different approach to her music as her voice creates a fun atmosphere in her music. Throughout her incorporation of English and her adding a twist of her home language in her hooks and always experimenting with her sound, she can be versatile in a long list of genres.

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Credit: 

South East London singer/songwriter Gabzy has recently joined forces with fellow UK emerging talents JayO and Odeal for his latest single “Too Fine”, released on July 18. 

The London trio announced this surprise project to fans via Gabzy’s X account, formerly known as Twitter and his Instagram. The post on both social media sites simply said: “Wednesday, 7pm. We ready?” This led fans of all three to flock to the comment sections where they expressed their excitement about the newest single.  

The emerging group have recently dominated the UK music scene as individuals, producing some of the biggest hits in the last few years, with each garnering praise and recognition. 

Nigerian and Peckham-born vocalist Gabriel Akinyemi, more commonly known as Gabzy, has become one of the UK’s biggest music rising stars. His ability to weave together different genres ranging from R&B to Afrobeats has made him one of the country’s stand-out stars and the multi-faceted artist he is known as today.

Gabzy quickly gained notoriety, becoming a household name following a successful collaboration with Nigerian singer Melvitto with their EP “Summers” back in 2019. The project thrusted him into the spotlight as he released his first solo EP titled “Malone” a year later, with some of his most listened to songs including “In Fact”, “Stay” and “Trouble” proving popular among his fans. 

British-Nigerian JayO catapulted onto the UK’s music scene following a string of infectious songs including his infamous singles “XO” in 2022 and “22” in 2023. His fearlessness when it came to experimenting with various genres from grime to hip-hop, R&B to Afrobeats, and nowadays more of the latter two, has made him one of the most in-demand artists in the last few years.

Rounding off the Nigerian trio, Odeal, born in Germany but raised in the UK, quickly rose up the ranks within the UK’s music scene, becoming one of its leading faces for British Afrobeats and R&B. 

Following successful collaborations with artists including Nines, K-Trap and Juls, Odeal has since delivered sold-out headline shows with his COLORS performance of his song “Coffee (Don’t Read Signs)” garnering over 10 million views. His performance became and continues to be one of the most successful recorded on the music platform. 

“Too Fine”, produced by RZ who is known for their work helping to create JayO’s “22”, delved into and explored the themes of love, admiration and attraction towards a partner or lover.

Gabzy, who sang the chorus, said: “You’re too damn fine to be walking alone/looking like Mrs Malone.” These lyrics reflected his desire to continuously remain in his lover’s presence as he hoped to stay and build a life with her forever. 

The track provided the perfect backdrop for each singer to showcase their individualistic talents and strengths whilst being able to merge different genres, highlighting the influence and versatility of Afrobeat music within the UK music scene.

With the single being dubbed the “ultimate summer anthem”, it has led to many fans wanting to see more collaborations from the trio, hoping that this will not be the last time they meet up.

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The moment it struck me how influential Nigerian artists have become was when I stumbled upon a fan page dedicated to Ayra Starr, run by international fans who don’t speak English. The engagement on that X account was something. 

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Not long after, I came across a video of people in Germany vibing to ‘Ozeba’ by Rema in a club, illustrating just how far Nigerian music has traveled. 

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These artists not only entertain but also serve as ambassadors of Nigerian culture, introducing global audiences to our unique sounds and stories. It’s important to examine how they portray us to the world and in this article we look at three amazing artists. 

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First let’s look at the beautiful, talented Ayra Starr. 

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Ayra Starr is truly a star. She’s the definition of healthy self-expression and empowerment especially among young women. Her music is a fusion of Afrobeats with the contemporary sounds that fits right in with her generation. Her lyrics are sometimes out of this world showing that youth is not synonymous with a lack of depth. 

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Ayra sings about her experiences, emotions, and desires, providing a soundtrack to a world where overbearing societal standards are met with carefree rebellion. She is a voice for young girls across Africa, inspiring them to define their futures.

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In a culture that often stifles women's voices and limits choices, Ayra Starr is a beacon of self-assurance and independence. Her ability to express herself fully and encourage other young Nigerian and African women to do the same is astonishing. Ayra’s rise in the Afrobeats industry, where such self-confidence from young women is rare, provides representation for girls who might not see themselves reflected in older African or American artists.

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Her music explores various themes like: identity, rebellion, and self-discovery. She addresses the realities of societal expectations and the pressures faced by young women. Her work is a reflection of the Nigerian society's ongoing tension between traditional values and modern aspirations, offering a narrative of adaptability and resilience.

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Ayra is more than just an amazing singer, she’s part of the new generation of women who are redefining Afrobeats and contributing to its evolution in representation. Women have greatly shaped the genre, and Ayra Starr's success cannot be overlooked in the ongoing popularity of Afrobeats. 

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 So how does Ayra portray Nigerian culture? 

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Well, she embraces the traditional and contemporary elements. Her fashion choices and musical style resonate with a global audience and helps in a better understanding of Nigerian and African culture among fans and admirers. As an artist at the forefront of Nigeria's current music movement, she bridges the gap between past and present, honoring and reinventing cultural norms.

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Ayra Starr is a cultural icon for her generation and she knows this. In fact one of her missions is to be a voice for young Black girls in Africa. Her impact on Nigerian music and culture underscores the importance of telling nuanced stories of African women, continuing the legacy of Africa’s first generation of global superstars who were women like Angelique Kidijo. 

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Ayra has expressed her desire to be remembered as someone who worked hard for her people and her continent. Well I’m certain we would never forget her and neither will the world. 

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Next, is the ever talented Rema. 

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Rema is simply unique. His blend of Afropop and Afro-Rave, a genre he coined to describe his energetic and innovative sound is something spectacular. He isn’t just a regular artist, his music 

often incorporates elements from various global influences, including Bollywood and Latin pop, creating a distinct musical style. 

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Rema's work has a distinct vibe but his introspective lyrics which often explore themes of love, self-discovery, and cultural pride keeps everyone on their toes. 

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One recurring theme in Rema's work is the celebration of his Nigerian heritage, particularly the cultural richness of Benin City. In one of his most controversial performances, he paid homage to Queen Idia of the Benin Kingdom in his performance by wearing a replica of her mask. 

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Through his music and performances, Rema addresses the complexities of Nigerian identity. He intersects modern influences with traditional culture. 

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Rema's impact on Nigerian society is multifaceted. Socially, he challenges cultural and religious norms, encouraging a broader understanding of Nigerian history and heritage. He also incorporates elements from Indian cinema into his music, thus fostering cross-cultural appreciation and highlighting the shared narratives between Nigeria and India. 

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Culturally, Rema has become a symbol of youthful innovation, representing the dynamism of Gen Z artists who are reshaping the global music landscape. Rema's work is a testament to the power of cultural representation in music. He uses his platform to celebrate and redefine Edo culture, bringing global attention to the artistic and historical significance of the Benin Kingdom.

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Rema has this amazing ability that helps him blend diverse influences into a cohesive artistic vision. He shows us how much music can bridge cultural divides and inspire new narratives. 

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Finally we have Tems. 

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We all know Tems for her unique blend of Afrobeat, R&B, and neo-soul. Her music is soulful. She has such a distinct vocal that sets her apart from the rest. Her vocals are her strength as they help her convey vulnerability and strength simultaneously.

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Tems explores themes such as self-discovery, empowerment, and resilience. Her songs often delve into personal experiences and emotions, offering listeners a sense of connection. Through her music, Tems addresses the complexities of love, identity, and personal growth.

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Oftentimes her music reflects the struggles and triumphs of young people navigating modern Nigerian society. Her lyrics address issues of self-worth, independence, and the pursuit of authenticity. By sharing her personal journey through her songs, she resonates with audiences who are searching for their own paths in life.

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Her success has opened doors for other female artists in a male-dominated industry, challenging traditional gender roles and inspiring a new generation of musicians. 

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Through her music, Tems tackles social issues such as identity, gender equality, and mental health. Her song ‘Damages’ for example, addresses the emotional fallout of toxic relationships, encouraging listeners to value themselves and seek healthier connections.

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Tems’ work contributes to the global understanding of Nigerian culture. Her music showcases the diversity and richness of Nigerian musical heritage. She is a cultural ambassador that helps bring Nigerian stories and perspectives to a worldwide audience.

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With Tems, you can see how dynamic Nigerian music is. You can also see how capable the Afrobeat sound is in influencing global music trends.

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Impact of these Sounds on the Global Audience 

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Ayra, Rema and Tems and other Nigerian artists have created a sound that is both distinctly African and universally appealing. Their performances and collaborations have brought them to the forefront of global entertainment. These artists create global anthems. 

However that is not all they do. They help convey unique African experiences and perspectives, giving the world insights into Nigerian culture, values, and struggles. This storytelling fosters a deeper understanding and appreciation of African heritage. Plus, they help introduce and continue to show off African culture to the world. 

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For Nigerians who are far away from home, these artists serve as a reaffirmation of their cultural identity and heritage. They also give them a sense of belonging and pride. And, best of all, these songs help Nigerians in diaspora bridge geographical and cultural divides. 

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So the next time you want to introduce someone to your culture, try music.

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Grammy award and Latin Grammy award-winning Nigerian singer, Yemi Alade hosted a private album-listening party for her upcoming album ‘Rebel Queen’ on Wednesday 17 July 2024 at SEE Lagos, for her fans and lovers of Afrobeats. 

The Lagos party is the last one following prior exclusive listening parties that she hosted in Paris, London, and New York to promote the upcoming release and celebrate with some of her fans, friends and colleagues in the industry. 

Before her arrival at the venue, the DJ set the mood with some of Yemi’s songs and other classic Afrobeat tunes. There was also a menu for guests to select cocktails, mocktails and food of their choice. 

A few colleagues, such as Uti Nwachukwu, Ric Hassani, ILLBLISS, DJ Neptune, Sunday Areh, Qing Madi and Ugochi, also graced the party with their presence. 

It was already a lit occasion, but it was when Yemi arrived that the party truly began. She sat close to her fans for easy access and had a chat about her new album. 

When asked about why she was always intentional about her album titles and using them to push the African woman and Africa narrative, here’s what she had to say: 

“My album titles have always been a tale of victory. They always signify something I have triumphed over and Rebel queen is a victory name that I have given myself. Because through it all I have always been one of those people that don’t follow popular opinions. I don’t use that as a yardstick to make decisions in my career and that is why ‘Rebel Queen’.”

She also shared her secret to surviving in an industry that’s so loud and filled with varying opinions. She simply just sieves through opinions that don’t resonate with her because everyone is entitled to their own opinion. Deeds Magazine also spoke to Yemi about her new album, and you can read all about it here.

The listening party was private indeed and every fan got to interact with the superstar. ‘Rebel Queen’ will officially be released on 26 July, and will be available for streaming and download on all major music streaming platforms.

I caught up with Blxckie fresh off the stage at his New York show in Irving Plaza the night prior and moments before arriving at his hotel to prepare for his exclusive mixer event. We touched on the assurgence of South Africa music including Amapiano, his first North American tour and his hopes for translating his artistry to the Western world. 

Blxckie, born Sihle Sithole, grew up in Durban, South Africa, a coastal city known as the third most populous, behind Johannesburg and Cape Town, and the harbor recognized for a majority of the country’s trading. Perceiving Durban from a worm’s eye view, the 24-year-old rapper says you’d notice it’s a mixed-race city. “Most of the people that are born and stay [in Durban], have a white parent. That's where I grew up but, as a Black person. I went to school there. That's where my family still stays, that's where most of my friends still are,” Blxckie shared. 

The mixed-race population of SA who may have ancestry from Africa, Europe, or Asia, were formally classified as coloured by the apartheid government in the 1950s. Apart from the country’s coloured populace, Durban also has large Indian, White and Zulu peoples. Blxckie is Zulu of the Nguni tribe and his first language is isiZulu. 

However, the country's history and people, as in all African countries, are far more vast than their limited, albeit widespread textbook anecdotes. Blxckie explains “South Africa is a melting pot of so many different cultures, even though they all sort of overlap, like some of the 11 official languages [and English] sound alike and stuff. There is a lot of SA history rooted in Johannesburg and Cape Town and they are probably the most talked about because that's where all the business happens. I feel like every country has their history and their richness.” 

Blxckie moved to Joburg from Durban, about 4 years ago when his music career started taking off, a dream that he began pursuing more seriously when the pandemic struck. Before that, the musician was studying Psychology at University and working towards becoming a clinical psychologist. Like a majority of African kids, the boundlessness of higher learning was a surefire ticket to advance social classes. “I came from very humble beginnings. I was super into my books. [Because of that] I had the luck and opportunity to get a scholarship for high school so that was like a nice turning point for me but then even when I was in university, the scholarship didn't continue so it was getting quite difficult,” he recalls. “Fortunately or unfortunately, COVID happened and the academic structure had to be paused for a bit and that's when I started focusing on making music more.”

And of course, any artist pays particular attention to how they are being perceived. A special part of that conception includes attempting to carve out one’s individuality through their stage name. “I started as SIHLE, which is my real name. I went by that for a long time, probably until high school when I started getting more into Soundcloud.” When Blxckie realized that not a lot of people pronounced his birth name properly, he decided to switch it up altogether. “I became Blackie Chan for a while, a play on Jackie Chan. And, you know, I’m Black and dark or whatever.” Shortly after his initial name change, he began searching for his name on the internet to view the progress of his latest releases and noticed there were quite a lot of people with the same nickname. “So I took out the Chan and changed the A to an X just to stylize it.” 

Nowadays a few artists have incorporated some version of Black in their name. “Even now I still realize, there's a lot of people who have Black in their [stage] names. You know Black Sherif, BlaqBonez, Odumodublvck. Those are all my guys by the way. I’ve met all of them and we are working on some stuff.” 

From being born and raised in Durban to touring the United States through his music, Blxckie ruminates on failing to take it all in at times. The end of tour shindig in New York, courtesy of Def Jam Recordings, was a moment for Blxckie to make an official debut with his brewing fanbase in North America. He officially inked a deal with the infamous label during the fourth quarter of 2023, a partnership he credits to Tunji Balogun, the Nigerian-American record label executive and Def Jam’s current CEO. “I think Tunji had DM’d me in 2021 and I didn't realize who he was at the time. Last year when I was about to come perform at SXSW and still hadn’t signed yet that’s when I met him and everyone was like, ‘Yo, this is the Def Jam guy, you need to tap in.’ When I went to go look, I realized he had DM’d me so far back and it just shows that he’s so tapped in. He’s not just going off hype because back then I wasn’t internationally known but I was known in South Africa,” he disclosed. 

Sounds from Africa have been on a steady incline into the Western world. A major contender in genres from the motherland is Amapiano, a derivative of South Africa, that is giving Afrobeats a run for its money.  At the 2024 Grammy Awards, South African artist Tyla took home the first-ever Best African Music Performance golden gramophone for her globally recognized pop-piano record “Water.” Her win, by way of SA, is quite the feat as it came before the release of her debut album, in a category that included African heavyweights Burna Boy, and Davido (featuring Musa Keys), Asake, Olamide and Ayra Starr. 

“I feel like in South Africa, the dance music scene has always been there and Amapiano is a part of that. I guess right now we sort of broadened ourselves and it’s something that we can claim and own. Unlike the stuff before like Tribal House and Deep House which could be traced back to London or even Germany,” Blxckie dives into the history of dance music in his home country. “But Amapiano is like our thing and that’s what makes it so special. I'm proud of and know all of them that are doing it right now. I’m a big fan of all the South African people that are taking that sound abroad. It gives us opportunities and it's not just for them, there's a lot of people in SA that gained from the fact that Amapiano artists are doing such huge things around the world,” he continues.

Aware of the heights dance music has helped propel the influential sub-Saharan African country, Blxckie reflects on its role in his musical journey thus far, “You know, I'm sure if I was making music around the time that I was born, there probably wouldn't be any dreams of me just being out of South Africa. There's just so much that has happened in the past ten years that opened so many doors and allowed for so many of us to have these types of opportunities,” the rapper persists. 

However, Blxckie is not to be mistaken for an Amapiano artist, although he enjoys the subgenre of Kwaito and House music, comprised of synths and wide, percussive basslines. “Sometimes I make and write [Amapiano] songs for artists but I don't feel like it's part of my identity. I've been building this whole Blxckie brand just off of R&B, Hip Hop and Afrobeats. But then when it gets to Amapiano, I feel like it's a little fast for me. Not in terms of enjoying it, but if someone heard a song from me and it was Amapiano, [I think] they’d be thrown off, even though I make a lot of different genres. I dibble and dabble but I’m not into making dance music,” Blxckie explains.

He concedes his point further by making the clear distinction that he isn’t a conventional rapper, but a rapper, nonetheless. “I’d say I’m a melodic rapper for sure. I’m not a traditional rapper. Like all the beef and battling, I don't think I'm traditional in that way, but you know I think a lot of rappers right now are into the melodic vibes, [we are] more about the flow and stuff. But then, since we are hip hop artists, we can tap into that sound that's more hard-hitting and more intentional.” Honing in on nontraditional rap has served the Def Jam signee well so far. 

The Durban artist’s sound-maneuvering between hi-hat patterns and snare drums, with his soothing voice and melodies is a conscious effort as he is a student of southern American trap music. “Rap-wise, I listen to a lot of Atlanta rappers like Young Thug and Migos.” Blxckie spent three months in Georgia’s capital city, mainly creating music. “Atlanta's a vibe. I feel like if I had to get a spot out here, it would probably be in Atlanta.” Outside of rap music, he finds inspiration in the new wave of trap R&B and Afrobeats. “I’ve been bumping a lot of Bryson Tiller, PartyNextDoor and Roy Woods. On the African side of things, I’m super into Afrobeats, Rema, Wiz and Blaqbonez are very big inspirations whenever I'm tapping into that pocket because no one does it better than the originators.”

Blxckie has already been named Apple Music’s Up Next artist, and had a solo certified gold song and album in South Africa with “David,” off of B4Now in 2021. That same year, he took home Album of the Year, Song of the Year and Best Collaboration at the South African Hip Hop Awards, as well as earned a double platinum song “Yex4'' with fellow SA rapper Nasty C. In 2022, he was nominated for Best International Flow at the BET Hip Hop Awards and a single he was featured on, “Sete” with K.O. and Young Stunna also went double platinum. With the larger part of his successes found in his native country, embarking on a North American tour opened Blxckie up to a whole new world. 

The “We Only Talk About Real Shit When We’re Fucked Up” North American tour, headline Dreamville’s Bas, the Sudanese rapper from Queens, New York with diasporan special guests Reuben Vincent who is Liberian by way of Charlotte, North Carolina and Hoosh also of Sudan, based in Miami, Florida and, of course, Blxckie. Bas and Blxckie met in South Africa and began cultivating an ongoing creative relationship. “Bas is really into SA, every year he makes an effort to be out there and since he's there so much, he has a solid fan base [there]. I think it was after this show called ‘Rocking the Daisies’, he was at some club called Coco. We spoke about a few things, but honestly, at the time, I didn't believe it was going to leave the club, 'cause you know, everyone is so lit, so most of the conversations don't,” Blxckie recalls their first encounters. 

The melodic rapper is featured on Bas’ “U-Turn” with A$AP Ferg off of the We Only Talk About Real Shit When We’re Fucked Up album, and have a few records together in the vault. “When he was finishing up the album, he was like, ‘yo, I want to hear what you would sound like on this one song I’m doing.’ He sent it, and then I did it the same day but sent it the next day. He loved it.” From collaborating on the album to linking up in the motherland on numerous occasions, Blxckie was asked to officially join Bas’ tour. “It’s been very dope. The reception and I also figured out where my people are and where the strongest fan base is. I’m super humbled and appreciative of everything he's been doing for me.”

Blxckie continues, “Bas’ crowd is not into the hype. They're not there to jump around and get lit. It's more about the music and the lyrics. There's no chance that an unknown person would get on stage and not get attention because they learn to hear what you're about. It's a very dope crowd. He also touches on the added layer and importance of African solidarity and representation. “Him having artists with African roots just made it that much more special. And the stuff that he speaks about on his album is very much related to all the difficulties that are going on in his home country of Sudan. I feel like he just thought about the representation of other African countries. Which is super selfless and commendable ‘cause, he didn't need to do that. His album is going well, he could've just gone by himself. But he was like, yo, I just need my guys on it. All thanks to him.” 

Durban’s own does well to place his career into perspective and speaks highly of those who have played a part in his journey so far, from his team to family and friends, who he says often remind him of how far he’s come. “I try to speak to people that were there in the beginning and they give me a [different] perspective. Like recently, I posted 28 shows, 20 cities done, or whatever. They’re the first people to be like ‘Did you realize that you just did that? It's not something light.’ They remind me when I’m doing something right, progressing, and not stagnant,” the SA rapper shares.

Blxckie hopes to continue to take note of how far he’s come and hopefully, one day, reach the point where he looks back at his career, in his 50s and maybe even takes up another art form. When talking to his younger self, he’d say, “You made the right decision moving to Joburg and to keep taking care of your family and friends, for sure. To keep taking care of your heart, mind and your soul. So that by the time you reach 50, and you are making  jazz, that everything is balanced.” 

Choosing to bet on himself and leave the seemingly promising trajectory of studying clinical psychology to chase his creative dreams has led Blxckie to wondrous heights. He says he’s learning to remind himself to take it all in, as the fast life has a way of blurring the days and his stand-out accomplishments. The intro to B4Now “Mama It’s Bad,” is an introspective letter to his mother about navigating through the hardships present in rising to fame yet ultimately trusting the process. On it, Blxckie croons, “I know God works in perfect timing / I just bow down and wait in line for my blessings.” In his current state, fresh off tour, I asked if he’d still tell his mother that it’s bad. He chuckled and then replied, “There are different problems but it’s definitely not as bad as it was back then.” 

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Photographer: @ByTunde

Stylist: @Styledbyglo_2

Stylist Asst: @Demeir.Wav

Creative Direction: @Styledbyglo_2

Creative Direction Asst: @Demeir.Wav

Art Direction: @Fyeobt

Design: @deeds.studio (@Dianeadanna)

Writer: @Veeeracity

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Music festivals have been an integral part of the music scene for years. They are a great way for artists and fans to connect and celebrate their love for music. 

One thing music festivals are never lacking is the diverse artists from around the world who introduce the audience to new cultural expressions and sounds. They help break down barriers, which is a phenomenon in and of itself.. So how did this cross-cultural event come about? 

‍Music Festivals — It’s History 

When you think of music festivals you probably have an image of them with various food stands, your favorite artists and the brightest lights. However, they began way before then. Way before all the fancy lights and your favourite artists came to be. 

The first festival took place during the Pythian Games in 582 BC in Ancient Greece. The Pythian Games included musicals, competitions, poetry, etc. The audience got to enjoy instrumental performances. 

Festivals as you know them today came about around the late 19th and early 20th century. One of the prime examples is the Bayreuth Festival. It began in 1876 and was pioneered by Richard Wagner. It was a yearly event in Germany to showcase his operas. 

In 1967, the Monterey International Pop Festival came to be, which is considered America’s first rock festival. In 1968, the  Miami Pop Festival was held and then Woodstock in 1969. 

Today music festivals are a great source of entertainment, creativity and art. They are big events which help the industry gain revenues and boost tourism for cities. They are also great sources of cultural exchange. 

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Music Festivals as a Means of Cultural Exchange 

Music festivals have grown in diversity and have essentially evolved to a great means of intercultural exchange and celebration. These festivals allow us as individuals to experience how a culture is. It’s also an opportunity for individuals from different backgrounds to come together and interact. 

Our world today is quite polarized and music festivals help us embrace the culture that exists in diverse communities. By attending music festivals we get to widen our knowledge of different cultures and traditions.

These festivals also have a diverse lineup of artists. Attendees get to see different artists from different countries with diverse musical traditions. Essentially a chance to experience genres and culture they normally would not encounter. One good example is the Glastonbury Festival in the UK. There’s always a diverse lineup of artists performing everything from pop to traditional. 

Also, music festivals are a great place for building relationships with people from diverse backgrounds. Through these interactions we experience cultural exchange. Festivals also come with various workshops on art, crafts and so on giving attendees an hands-on experience that helps with their cultural understanding. 

The food and the art at music festivals are also a means of cultural exchange. Food stalls often showcase a range of cuisines from places all over the world so attendees can taste and appreciate the culture of a place they may never experience physically. 

There are some music festivals that excel at promoting cultural exchange. Like the Fes Festival of World Sacred Music in Morocco. This festival brings artists from different backgrounds and faith creating a unique experience for lovers of spiritual and traditional music. 

There’s also the AfroPunk Festival in South Africa and the USA. This festival focuses on celebrating African culture. It’s a stage for diverse black artists to express their diversity and heritage. Sauti za Busara Festival in Zanzibar is another festival that showcases African culture by focusing on African music. Diverse artists across Africa get to share their traditions and talent. 

Music festivals are ever evolving and so is their role in cultural exchange. The world today is so interconnected and music festivals are an exciting avenue for cross-cultural dialogue and understanding. They have the power to create a more harmonious world and that’s something everyone can appreciate.