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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Aadnevik returns to London Fashion Week with a bodacious new look that veers off the beaten path in favour of one lined with saloons and tumbleweed. Selecting an outfit can feel like a rodeo, but there’s no way these outfits won’t put a target on your back and a bullseye in the stunned onlook of passersby. Crushing extravagance is the new face in town, making any humdrum street a showdown - it’s high noon and the town ain’t big enough for the both of ‘em.

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The cowboy hats aren’t an understatement, so where else could one even start? This rough and tumble piece of ranchwear is found on every fit, almost always in velvet black, lined with a crown of badges that belie the Sheriff’s numbered days. Each hat is accompanied by a bolo-style clasp featuring bovines or brooches that hark back to the South’s wild frontier era. Styling a cowboy hat is hard work - some might liken it to leading a horse to water - but the hay-swept runway exhibition shows that it’s all in the ensemble. The clasps serve to draw the eye away from the hat and exemplify the neckline and frame the outfit below, whether it’s a pink corset that hangs off the shoulders or a gown fit for more than mere hospitality. A silver-black palette is the perfect compliment for strong makeup and a determined gleam in the eye of anyone bold enough to make it part of their central fit - confidence necessary to stare down any no-good varmints that stand in one’s way.

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With outfits like these, anyone attired is sure to become an ace-in-the-hole. Aadnevik has undertaken quite the insurmountable task by framing a cowboy hat to a dress, though they’re not one to be outdone by even the South itself. These fits cling to the waistline and billow out below the knee, leaving a trail of elegance and thin fabric perfect for wind-swept city strutting or forays into an up-class belle ball. The hat’s large silhouette is strikingly complimented by cuts that don’t blow up the form or take away from the space it needs to stand as a focal point of the entire look, a feat easier said than done by styling an item many would see as eccentric. Aadnevik’s philosophy seems to be that style begins from a centrepiece and works its way outward - the give and take of these designs is as such that even the length to which these dresses are cut compliment the wide-brimmed headpiece. 

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Finding the midpoint of refinement and chic when styling such an item is difficult - these outfits may appear suitable for late-night galas or high-class events judging by silhouette at a distance; upon closer inspection, each piece highlights the waist so as to provide a historic double take. Leather belts and corsets evoke Southern ball outfits, though thin fabrics below the waistline bring this Wild West style up to modern speed, not being too heavy or having impractical proportions. Aadnevik’s sparse use of layers, favouring colour-blocking and texture to play fabric feel over each model’s skin, shows a consideration of how antiquated dress retains style when cut with modern fabrics and contemporary form, though each application of layers and lace is so genius that it leaves one wondering about other avenues of midriff styling.

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Of the short dresses, classic gothic supplements are used to fully rock the 19th century style; large black flowers and frilled skirts match the width of frame the cowboy hat requires to feel at home in this here neck of the woods. Where pattern is used, cuts feature a corset style lacing to give fabric the reins over palette. Negative floral designs are used on a few adventurous pieces that show Aadnevik hasn’t even begun running out of ideas to keep an outfit attractive and understated when the need arises. Points of power are created by drawing the eye to key parts of the body, never quite overwhelming the look in any given area or overall.

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The longer dresses make full use of the fabric texture to accentuate their elegance and necessity. Close-cropped garments here use a silky-yet-matte thread which highlights each wearer's frame tastefully; luxury is the name of the game, and Aadnevik hits it dead-centre - sometimes leaving a leg exposed so that skin tone can play a part in giving the outfit an air of celebrity. Where the chest is exposed, accents such as floral embellishment, corset lacing, and fringes keep the eye trained exactly where it needs to be - on a silhouette that’s nothing less than a prize. Sequins and bejewelled garments reminiscent of paparazzi glitz make some pieces showstoppers indeed - their bright palette and stark cut are sure to make any wearer the talk of the town.

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Gowns are undeniably the most attention-grabbing additions to this set, where the hat becomes an asset more than a staple, since it doubles as a veil. These pieces have Southern noir written all over them in white lace, intricately woven as such that the message couldn’t be missed. Floral accents on each of the garments place a perfect cap on an outfit that just needs a beating sun and the buzz of cicadas to fully finish. All things considered, these gowns triumph over the challenge of styling the hat by maintaining a divide in the midsection and arranging lace so that other fabrics are brought into the fold. There is no pretense - Aadnevik fully immerses the wearer in Southern sophistication here… just be sure not to wear them to someone else’s wedding.

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Aadnevik’s storied journey of blending whimsy and elegance takes another bold step with these fashion pieces - rarely is such a prolific designer able to have such fun while tackling the challenge of thoughtful arrangement. Where risks are taken, they pay off - though it would have been interesting to see a deeper exploration of how layering can style a centrepiece. Still, any do-si-do would be decidedly elevated to decadence with these Country-inspired outfits.

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Image Credit: Milly Wee

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Some stories are told, but the best ones are felt. That’s exactly what Family Inc. is about—capturing the raw, unfiltered moments that make creativity come alive. Founded by Deniyi Mayowa and Ademola Falomo, Family Inc. is more than just a collective; it’s a movement redefining how we see the process behind the art. With The Creators Playlist, they’ve built a space where the fast rising architects of creative culture—filmmakers, designers, artists, photographers—have the spotlight shine on them. The show peels back the layers, spotlighting the creative process in all its unpredictability and magic.

In this exclusive with Deeds Magazine, we dive into the origins of Family Inc., the heartbeat of their latest episode featuring Ayanfe, and the raw, unfiltered passion driving their mission. Ahead of the premiere, we sat down with Family Inc. and Kewa Oni, who directed this episode, to break down the vision behind the Creators Series, what makes the Ayanfe episode different, and why storytelling like this matters now more than ever.

Deeds Magazine: How did you start Family Inc., and what’s the story behind the name?

Family Inc: Over two to four years, we were both individually doing our thing. Then we realized we had the same bigger vision beyond just freelancing. One faithful day, we decided to start something, and in less than a minute, we settled on the name. We had options, but then someone said, Let’s call it Family. It made sense because, at that point, we weren’t just collaborators—we were like brothers. I spent so much time at Ademola’s place whether we were filming or not. That simple realization sealed it. It just clicked. We weren’t just a group of creatives making videos; we were a community. A family. That name carried the weight of everything we built together. Hence the birth of Family Inc.

Deeds Magazine: Can you tell us about the Creators Series and what inspired its creation?

Family Inc: We started as two people coming together—like brothers—spending long nights filming, running around guerilla style for days. We realized we shared the same vision when it came to visuals. It wasn’t just about making videos; it was about creating something bigger for filmmakers and creatives. With the Creators Series, we want to give an insight into the process of different creators, highlighting some of the struggles that come with pursuing their creative journey and the role the community plays on the said journey.

Deeds Magazine: You’ve already released three episodes on Creators Series. What has the response been like so far?

Family Inc: The response has been very satisfying. Each episode unlocked something new—people weren’t just watching a video; they were experiencing something fresh. No clichés, just real creative energy. Every episode feels like the start of something bigger. Even if it’s just a captured moment, the energy is contagious. It makes you realize that celebrating the creative process is just as important as the final output.

Deeds Magazine: How do you select the creatives featured on Creators Series?

Family Inc: It comes down to mutual respect—working with people we already have a relationship with. Even when timelines clash, that understanding keeps the process smooth. It’s about knowing that we share the same creative spirit. And even if we haven’t worked together before, if they genuinely love Family’s work, that’s a green light. We’re building a community of filmmakers and creatives who understand that the process is as valuable as the final product.

Deeds Magazine: What makes this latest episode with Ayanfe so special?

Kewa Oni: Ayanfe’s episode is  like a personal story—more than just an introduction. It captures her playful energy, small details about her that tell the bigger story. It’s like watching a snippet of a movie about someone’s life. The creative energy, the raw conversation, the playful vibe—it all blends into something real, and we hope our audience has as much watching it as we had making this episode.

Deeds Magazine: How does Ayanfe’s story fit into the larger narrative you’re building?

Family Inc: It fits naturally. From the start, we weren’t just making videos—we were capturing the raw creative process. Ayanfe’s journey continues that tradition, showing that each creative, each experience, contributes to the bigger picture.

Deeds Magazine: What can viewers expect from this episode?

Kewa Oni: Expect real moments—raw conversations, it’s playful, spontaneous, and full of unexpected insights. It’s like watching a horror film in its rawest form—unfiltered, intense, but deeply engaging. 

Deeds Magazine: Where do you see “Creators” Series going from here?

Family Inc: It’s evolving with every episode. We’re continuously pushing boundaries and exploring new ideas that deepen our storytelling. For us, it’s about building communities—independent filmmakers and creatives working for passion, not just money. Seeing young directors and fresh talents come forward is what excites us the most.

Deeds Magazine: Any dream guests or collaborations coming up?

Family Inc: We are open to working with anyone who brings genuine passion—directors, photographers, musicians. It’s not about big names, just authentic stories. Creators Series isn’t just a project—it’s becoming a movement, and this Ayanfe episode is proof of that. It’s fresh, it’s real, and it brings us even closer to the artists shaping our culture. With every episode, Family Inc. keeps showing us that creativity isn’t just about the final product—it’s about the process, the banter, the unexpected moments that make it all come alive.

The episode droped at 4PM Today, that means if you are reading this, you should head to YouTube right now to go watch the episode!!! Stay locked in to Family Inc.’s social channels for future updates on Creator Series and to see what they are up to these days!

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The two-day event continues from the 28th of February for the Puma X Skepta collaboration in London. At Offspring HQ, in Kings Cross, lines were forming outside as we awaited for the second-day event to commence. Setting the ambience and the lively atmosphere, matched with perfect back-to-back transitions (which he never fails to disappoint), was delivered by DJ Maximum, renowned for Boy Better Know and Skepta’s personal DJ. On the top floor, an exhilarating showcase of the Puma X Skepta apparel was on display.

A Pertex, mint-green green puffer jacket accompanied with a soft, buttery outer shell. Firm fitting, shark, charcoal-grey and black, hiking boots with the signature green laces and to complete the look, midnight-black “tech-luxe” gloves.

As well as showcasing the Puma and Skepta hiking, and sportswear fusion, the two-day event was to award the winners of the treasure hunt for the Puma X Skepta collab. Each winner was gifted the exclusive garments and merchandised posters signed by Skepta himself.

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Black History Month is a time to reflect, celebrate, and honor the resilience, achievements, and cultural impact of Black individuals throughout history. It’s more than just a month, it’s a reminder of the pioneers who defied odds, shattered barriers, and left a lasting legacy that continues to shape our world today. From civil rights activism to groundbreaking artistic movements, Black history isn’t just American history—it’s world history.

The roots of Black History Month trace back to historian Carter G. Woodson, who in 1926 established "Negro History Week" to shine a light on African American achievements. His vision grew into what we now know as Black History Month, officially recognized in 1976, ensuring that Black excellence is celebrated on a larger scale.

Throughout history, Black individuals have challenged norms and created new opportunities. Jackie Robinson’s entry into Major League Baseball in 1947 was a landmark moment in sports, breaking racial barriers and paving the way for future athletes. In politics, Carol Moseley Braun made history as the first Black woman elected to the U.S. Senate in 1992, opening doors for more diverse leadership. The Civil Rights Act of 1964, a turning point in the fight against racial discrimination, stands as a testament to the courage and perseverance of those who fought tirelessly for justice.

Black culture has also revolutionized music, fashion, and art. Berry Gordy Jr. founded Motown Records in 1959, launching the careers of legends like Stevie Wonder and Marvin Gaye, forever changing the sound of popular music. Fela Kuti’s Afrobeat movement blended jazz, funk, and African rhythms with a powerful message against political corruption. Hip-hop, born in the Bronx in the 1970s with figures like DJ Kool Herc and Grandmaster Flash, grew into a global phenomenon, influencing not just music but fashion, activism, and culture.

Art has been a powerful medium for storytelling and cultural preservation. Babajide Olatunji’s Tribal Mark Series offers a modern take on the Yoruba tradition of facial scarification, bridging past and present. Fashion designer Stephen Burrows made history in 1973 as one of the first Black designers to present his work in Paris, breaking boundaries in an industry that long lacked diversity.

Beyond art and music, Black excellence extends into science, space exploration, and athletics. Katherine Johnson’s brilliance at NASA helped launch the first U.S. space missions, as highlighted in Hidden Figures. Dr. Mae Jemison became the first Black woman in space in 1992, proving that the sky is not the limit. In sports, Serena Williams’ dominance on the tennis court, Simone Biles’ record-breaking gymnastics career, and Victor Osimhen’s Serie A victory continue to redefine greatness.

Black communities have long been at the forefront of change. The Sons of Africa, formed in London in 1787, was one of the earliest organized movements against slavery. More recently, the U.S. officially recognized Juneteenth as a federal holiday in 2021, a long-overdue acknowledgment of the end of slavery and its enduring impact. Abigail Katung’s historic appointment as the first Black Lord Mayor of Leeds in 2024 marks another step toward greater representation in leadership.

Festivals and performances have also played a major role in celebrating Black identity and culture. In 1977, Nigeria’s FESTAC brought together 56 African nations and diaspora communities in a landmark event that honored Black heritage. In 2018, Beyoncé’s iconic Coachella performance—dubbed "Beychella"—paid tribute to the rich legacy of Historically Black Colleges and Universities (HBCUs), proving once again that Black culture sets the standard.

As we celebrate Black History Month, we not only remember the past but also carry its lessons forward. The stories of those who fought, created, and led with determination remind us that history is not just something we look back on—it’s something we build every day. This month is a call to honor the past while shaping the future. Black history is world history, and its impact will continue to inspire generations to come.

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. 

#Artswithdeeds At the intersection of digital precision and traditional craftsmanship, ThemanyphacedGod(@themanyphacgod?) is redefining contemporary portraiture. His distinctive style—profile-view portraits layered with hidden details—invites viewers into an immersive experience where meaning unfolds over time. Through a meticulous process that blends digital and physical media, he transforms each piece into a visual journey, rich with symbolism and depth.

The many phaced God begins his work on an iPad, painting his subjects with an eye for intricate detail before printing onto canvas. From there, he applies oil pastels and acrylics, building layers of texture that bring his figures to life. His chosen color palette—blue, white, and red—pays homage to the UK, where his muses live and create, highlighting the cultural landscape that shapes their artistry.

But his work is more than just visual storytelling; it’s a tribute to the resilience and dedication of the artists he portrays. Padlocks appear on the ears of his subjects, symbolizing their unwavering commitment to their craft and originality. The Ghanaian Fawohodie symbol, meaning "freedom," is another recurring motif, reinforcing the idea that art allows creators to exist without boundaries.

Each portrait in his collection is a statement. The figures he chooses to depict are not just artists but cultural pioneers—individuals who have remained true to their visions despite obstacles. Their stories resonate deeply with The Many Phaced, and through his work, he captures the energy, struggles, and triumphs that define their journeys.

For The Many Phaced, art is an act of rebellion and self-expression. His creative process is fluid and instinctive—an exploration of culture, identity, and personal freedom. He embraces the idea of breaking rules, forging his own path, and trusting his vision.

"I want people to feel like they had a hand in creating the work themselves—to see it, connect with it, and experience the emotions that shaped it. More than just viewing the piece, I want them to step into my perspective, to feel what I felt in that specific moment."

Currently, he is working on an ongoing series of profile portraits featuring influential UK creatives who inspire his practice. Through his art, The Man Phace continues to tell stories that resonate, celebrating those who remain locked into their dreams and committed to their craft.

Experience The Many Phaced God

Join The Man Phace as he unveils his latest works at The Many Phaced God art show—an exhibition showcasing his signature portrait style and the profound narratives behind his pieces.

📅 Friday, 4th April – 6PM till Late

📍 Pasta Nostra, 122 Old St, London EC1V

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The Brit awards (British Record Industry Trusts Show) is a high profile british music award ceremony that recognizes and awards musicians all over the world in different categories. Originating in 1977, the annual awards show has become synonymous with British entertainment culture and has become a coveted award by many in the industry.

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In addition to the prestige of being awarded or nominated for the award there is a facet to it that is less talked about and in recent years has featured involvement and contributions from other amazing, talented creatives. Although they are not recognized for their vocal proficiency, their influence on society and popular culture has earned them a place in the Brit Awards' legacy. I’m referring to the design of the iconic statuette itself. A sub-aspect of the ceremony, the statuette has been regularly redesigned by well known British artists, architects, and designers, in some sense becoming its own category, over the years several creatives have been given the honour to add a touch of their own design language to the iconic Britannia model.

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With high profile names like Vivienne Westwood, Damien Hirst, Zaha Hadid and a lot more talented artist taking the challenge to redefine the silhouette, two names stand out from the bunch as more contemporary, mainstream designers; Olaoluslawn and Gabriel Moses who have had the honour to share their views on the piece, Slawn in 2023 (as the youngest ever person to design the award) and most recently Gabriel Moses in 2025. Several things stand out as notable parallels in the selection of both creatives, they are both UK based Nigerian “artists” in their own regard and they are closely affiliated with each other as they are increasingly becoming one of the most sought after talents in the industry with both of them scoring huge collaborations with major names like Louis Vuitton, Nike, Ferrari, Rolex and a plethora of organisations. The question of “who’s next?” can't help but arise, considering the list of highly talented UK based, Nigerian creatives whose names are becoming increasingly mainstream and have close relationships with Olaoluslawn and Gabriel Moses.

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Picking from the sea of talents Leonard Iheagwam “SoldierBoyfriend” and “Teoni” would fit this category almost perfectly. With an early desire to carve an “unconventional” career path for himself through art, Leo found himself in a circle with Slawn while they were both in Nigeria and since then, from feeding off each other's hustlers spirit he’s become a rapidly growing talent in the UK art scene. “Seeing people around me striving for greatness and doing their best work, I can’t help but think, who am I to not be making the best art of my life?” With collaborations with Dover Street Market and Timberland, his talents are not going unrecognized and it’s only a matter of time before he has the industry in a similar chokehold as the other Brit Awards designers have had.

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‍Miss Teoni Hinds, a London based fine artist with a distinctive art style that sets her work apart as being an apt yet almost comical representation of everyday life has positioned herself for inevitable greatness with influences from her close circle SoldierBoyfriend and Slawn inclusive.

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Almost like osmosis she has in her own way paved a way for herself in the art scene and is currently spearheading “BeauBeaus Art Club”, a community-driven space which is facilitating artistic development for others. She has also been involved with well known brands like DR. MARTENS with a commissioned mural for their collaboration with MOTHERLAN. There is a myriad of deserving artists, architects, sculptors and designers who could take up the challenge next and the truth is we don’t have the slightest clue who is designing the Brit Awards next but we’ve seen some sort of a roadmap set by the previous designers and we’ve identified some artists who are in the position to replicate that to certain degree.

Godspeed.

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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.

For this edition of #ThroughMyLens, we turn our focus to Alex Piper (@alexjpiper), a photographer whose ability to merge music, fashion, and storytelling has made him one of the most exciting visual artists in the industry. His dynamic, high-contrast imagery reflects a deep appreciation for cinematic influences, pushing the boundaries of contemporary music photography.

“I want my concert photography to feel like it belongs in an editorial. Every frame should feel immersive, as if you could step inside that moment.”

That instinct has led him to work with some of the biggest names in music, including Rema, with whom he has developed a strong creative synergy.

Capturing Rema’s Visual Universe

Alex started working closely with Rema in September, and the partnership has since resulted in a series of striking visuals that perfectly align with both of their artistic visions.

“Rema has an extremely refined visual language and aesthetic that really resonates with my own influences, so photographing him feels especially organic,” Alex shares.

In December, he flew to Nigeria to capture Rema’s shows in Abuja and Lagos, an experience he describes as both surreal and transformative.

“Flying to Africa for the first time to work with him was something really special. The energy of those shows, the passion from the crowd—it was incredible. The production and set design were so in sync with my editing style, which tends to be very dynamic and high-contrast. The same goes for the photography in the OZEBA video—it all just came together effortlessly.”

His recent time with Rema extended to Paris, where they worked on a new series of visuals. While he keeps the details under wraps, he hints, “We captured some crazy shots. There’s a lot in the archive right now, so keep an eye out.”

A Cinematic Eye: The Matrix, Bleach & Beyond

A major part of Alex’s signature style is rooted in cinema and anime, particularly The Matrix and Bleach—two worlds that have influenced his visual storytelling.

“There’s something about Bleach that’s always stuck with me—the world of Hueco Mundo, the Espada, and Soul Society. The character designs, the contrast of dark and light—it’s cinematic in its own way.

With The Matrix, I’ve always been drawn to the Club Hel scenes, slow-motion action sequences, and the iconic styling—the black leather, the trench coats, the tinted shades, and that gritty green color grading. These are all elements that subconsciously influence the way I approach lighting and composition in my work.”

By blending these influences with his own instincts, Alex creates images that feel larger than life—photos that capture not just a moment, but an entire world.

The Journey: From Street Photography to Music’s Biggest Stages

Photography wasn’t always the plan. Alex’s early days were spent exploring street photography, capturing candid moments in urban settings. But a missed SD card changed everything.

“One day, I left my SD card on a train to Waterloo, which meant I couldn’t shoot. But my friend Nelson was filming with a model nearby, so I tagged along. I ended up exchanging details with the model, and later he invited me to a music video shoot. From there, things just started spiraling.

By 18, I had already photographed most of the UK rap scene. Then I met Idris Elba, who took me under his wing and gave me opportunities that helped shape my career.”

Since then, Alex has worked with a wide range of artists, consistently pushing the limits of his craft.

Evolving Style: Experiment, Reflect, Repeat

Right now, Alex is focused on experimentation, leaning into colder tones and a grittier, more textured approach to his images.

“I’m allowing my own personality and intuition to blend with my work more than ever. My process is all about experimenting, curating, reflecting, and repeating the cycle, holding onto the elements that resonate the most.”

Despite his growing success, he remains open to discovery, embracing the journey of finding his artistic voice.

“I’m still figuring it out. I’m a young man navigating my own identity, refining my perspective, and shaping a signature style. But I think that rawness and honesty will only make my work more authentic in the long run.”

Looking Ahead

With an ever-expanding portfolio and a clear artistic vision,

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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In the vast world of contemporary art, few artists bring the raw, emotive power of storytelling to life as vividly as Sinatra Ahmed-Zantout. A multi-disciplinary artist with a unique approach to identity and representation, Sinatra has pioneered a style she calls “Masqueradism” a practice rooted in the use of African masks to explore the layered realities of women of color.

Her latest body of work, “No Eye Can See Me”, is a deeply personal and political statement on the invisibility of hardworking women, particularly those in lower-income societies. The collection challenges the way these women are perceived: present but unnoticed, seen but not truly acknowledged.

For Sinatra, masks are more than just artistic motifs—they are a visual language that speaks to the duality of identity. They symbolize the ways women navigate between tradition and modernity, strength and vulnerability, visibility and erasure. Through bold compositions and intricate details, she captures the silent resilience of these women, making their stories impossible to ignore.

The series is also a reflection of the artist’s own frustration with societal norms that fail to uplift women who keep entire communities afloat. With every brushstroke and sculpted form, Sinatra’s work demands recognition for these women’s labor, sacrifices, and existence.

Beyond No Eye Can See Me, her broader artistic practice continues to challenge perceptions, redefine representation, and create space for women’s voices in the art world. Sinatra Ahmed-Zantout is not just making art—she’s making history.

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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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Photography has always been more than a profession for Adaeze Okaro (@adaezeokaro)—it is the medium through which she translates her inner world into visual stories. Her work captures the delicate, often unspoken moments of human existence, revealing raw emotions and layered identities. From her early fascination with images to her professional journey in fashion and documentary photography, Adaeze’s evolution behind the lens is a testament to resilience, curiosity, and an unwavering commitment to storytelling.

A Lifelong Passion for Capturing Moments

Even as a child, Adaeze envisioned herself in many roles—doctor, musician, designer—but photography remained the constant. It was her way of making sense of the world, freezing fleeting emotions into tangible memories. Her father, a dedicated medical doctor, unknowingly influenced her approach to storytelling. His warmth and authenticity taught her that care and intention are essential, not just in life but in art.

Her journey formally began at the age of six, when she first experimented with cameras, borrowing from friends and testing the limits of her phone’s capabilities. What started as a hobby soon turned into an obsession. In school, she took on small projects, capturing moments for classmates, refining her craft through trial and error. The turning point came in 2018, after graduating from university. With her first professional camera in hand, she embarked on her inaugural project—a moment that confirmed her calling. Since then, every frame has been a step in her creative and personal evolution.

A Process Rooted in Emotion and Exploration

Adaeze’s creative process is an intricate balance of intuition, structured exploration, and spontaneity. She begins by immersing herself in the emotions or themes she wishes to capture, drawing inspiration from films, literature, and everyday life. Before each project, she builds mood boards and sketches rough concepts, outlining her vision while leaving room for organic moments to unfold.

For Adaeze, storytelling is about trust. Whether she is working alone or in collaboration with her subjects, she prioritizes connection, allowing her images to feel deeply personal. “The most powerful photographs aren’t just about composition or lighting,” she says. “They are about emotion—about making people feel something.”

Expanding Boundaries: Documentary, Mixed Media, and New Narratives

As her career progresses, Adaeze continues to push the boundaries of her craft. While she has made a name for herself in fashion and portrait photography, she is now returning to the documentary roots that initially ignited her passion. Currently, she is exploring mixed media techniques, blending traditional photography with digital art forms to create immersive visual narratives.

One of her most anticipated projects is a photobook that delves into the unspoken—emotions, vulnerabilities, and identity. This new direction is deeply personal, reflecting not only her growth as an artist but also the experiences that have shaped her perspective.

Her work for Dazed & Confused and collaborations with VSCO, where she helped develop signature blue-hued presets, have been pivotal in refining her aesthetic and expanding her creative reach. These experiences have enriched her visual language, reinforcing her belief that photography is more than documentation—it is a medium for self-exploration and cultural commentary.

Looking Ahead: A Vision for the Future

Adaeze’s upcoming projects are a continuation of her lifelong mission: to tell stories that resonate. As she prepares for new exhibitions and collaborations, she remains committed to capturing life’s complexities with honesty and depth.

Through her lens, she invites us to see beyond the surface—to embrace vulnerability, identity, and the beauty in everyday moments. In a world that often rushes past quiet emotions, Adaeze Okaro reminds us that photography has the power to pause time, offering a glimpse into the soul of both the subject and the artist.

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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