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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We caught up with Kiing Daviids (@kiingdaviids) to uncover the journey behind his thriving footwear brand and his passion for storytelling through fashion.

From his early days as a student at the University of Lagos, where he flipped a thrifted brogue shoe for profit, to building a brand that embraces imperfection as part of the creative process, Kiing Daviids shares how faith, resilience, and vision shaped his path.

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He breaks down the inspiration behind his upcoming capsule collection, “TRASH” a project that transforms factory errors into intentional design—while also reflecting on how starting a fashion brand has influenced his personal style. We also get insight into his biggest influences, from Balenciaga to Virgil Abloh, A$AP Rocky, and Nigerian fashion powerhouses like Tokyo James and Orange Culture.

Beyond design, Kiing Daviids opens up about his creative process, his love for snooker, fashion shows, and the beach, and what’s next for his brand. Tap in as we explore the world of Kiing Daviids, where every piece tells a story.

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DEEDS MAGAZINE: Tell us about “The Brutalist Vision,” and what inspired it?

PELUMI OYEWO: The Brutalist’s Vision is a deeply personal exploration of my thoughts, imaginations, and addictions at this point in my creative journey. Lately, I’ve been heavily influenced by Eastern European architecture its stark lines, imposing presence, and the raw beauty of concrete and metal. There’s something otherworldly about it, something unpolished yet intentional. It made me think about the symbolism of black how it represents nothingness yet carries a kind of purity. I became fascinated with how people react to it, how it absorbs everything yet stands apart. This project is a reflection of those thoughts, a way for me to materialize them into something tangible.

DEEDS MAGAZINE: How did you get started? Also, what is your creative process like?

PELUMI OYEWO: The project took time, from planning to execution. I wanted it to feel personal, so I changed aspects of my daily life to fully immerse myself in its essence. I started wearing only black clothes with silver jewelry, changed my music selection, and watched Dune repeatedly to tap into a certain mood and aesthetic. Then came image research, I went through countless references to refine my vision. Every collaborator, from the photographer to the model and stylist, was carefully chosen to align with this world I was building. I don’t just create for the sake of creating; I need to feel and live through it first.

DEEDS MAGAZINE: Do you have any favorite projects, and what makes them special to you?

PELUMI OYEWO: This one, definitely. The Brutalist’s Vision stands out because of the clarity and self-awareness I gained during the process. It wasn’t just about aesthetics; it was about understanding myself more deeply. Every element, every decision was intentional, and that makes it different from anything I’ve done before.

DEEDS MAGAZINE: Do you have any upcoming projects you would want to share with us?

PELUMI OYEWO: Yes, The Brutalist’s Vision is actually meant to be a lifelong series, evolving with me as a creative. The next in the sequence will be The Brutalist’s Vision 3, followed by 4, and so on. I’ve already mapped out the first five in the series. The Brutalist’s Vision 2 will be a self-portrait, which I’ve reserved as my final statement, my last bow. Along the way, I’ll be experimenting with performance art, social experiments, and other projects beyond just photography. Outside of this, I’ve got a few gigs lined up, but my focus remains on expanding The Brutalist’s Vision into something bigger than just a single project.

Stylist and creative director Pelumi Oyewo (@pelumiioyewo) presents a striking visual narrative inspired by Eastern European Brutalist architecture—where raw concrete forms, stark lines, and an almost inhuman beauty take center stage.

Blending these elements with the refined yet alien aesthetic of Dune, the shoot transforms fashion into sculptural armor—rigid yet fluid, powerful yet desolate. Muted tones of gray, sand, and metal set the stage for a world where fashion and architecture merge, and elegance transcends the human experience.

Pelumi Oyewo continues to push creative boundaries, crafting visual stories where fashion becomes both structure and statement.

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Credits:
Muse: Real Moses (@reallmoses)
Photographer: Tosin Babarinde (@artistrypixels)
Hairstylist: HairbyKold (@hairbykold)
Makeup Artist: Oriyomi (@brushed_by_x)

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This week, we’re spotlighting Jimmy Ifeanyi, a multidisciplinary artist whose work is rooted in the beauty of imperfection, creative liberation, and the power of storytelling through color and form. Her artistic journey is a testament to the transformative nature of self-expression—moving beyond limitations, embracing experimentation, and challenging the rigid standards that often stifle creativity.

Breaking Free from Perfection Paralysis

Jimmy’s latest project is deeply personal. It represents a conscious effort to break free from perfection paralysis—the internal struggle that keeps artists from bringing their ideas to life due to fear of imperfection. For years, she grappled with self-imposed standards that kept her creations locked away in her mind, but this project is a turning point. It is an open invitation to embrace the process, allowing boundless imagination to flow without hesitation.

This journey of creative liberation has led her to produce works that are more intuitive and uninhibited, reflecting the raw essence of her artistic vision. It’s about feeding the soul—creating for the sake of exploration, emotion, and connection rather than perfection.

A Journey Through Art: From Photography to Painting

Art has always been a constant in Jimmy’s life, but her creative evolution has taken many forms. Initially, she was drawn to photography, seeing it as a discreet yet powerful way to capture fleeting moments. It was a tool that allowed her to document life’s subtleties, frame by frame. However, as her artistic curiosity expanded, she discovered that painting provided a more immersive experience—one where time felt suspended, and she could translate emotions onto canvas in a way that transcended the constraints of reality.

Her passion for color theory was sparked in 2016 when she first encountered the color wheel, a moment that opened up an entirely new dimension of artistic expression. Colors became more than just visual elements; they became narratives—each hue carrying its own story, evoking emotions, and adding depth to her work. Through this newfound lens, she began experimenting with hues, patterns, and symbolism, developing a signature style that merges the technical with the deeply personal.

An Intuitive Creative Process

Jimmy’s artistic process is fluid and instinctive, shifting in response to the energy of each piece. Some works take months of careful refinement, while others emerge in a single, unbroken session of artistic fervor. In the early stages of her career, she viewed art primarily as a form of emotional release, but with time, she has come to see it as a dialogue—a continuous exchange between herself, her subjects, and her audience.

Her color circle study paintings stand as a reflection of this philosophy. In these works, she seamlessly blends mixed media and photography, painting individuals she has captured through her lens. The recurring circular patterns within her compositions serve as visual echoes of shared moments, conversations, and emotions—turning each piece into a living archive of human connection.

Defining Moments: The “Baba Fela” Triptych

One of the most defining works in Jimmy’s portfolio is her Baba Fela triptych—a piece that marked a pivotal turning point in her artistic journey. This work was the first to integrate a human subject with her signature circle study technique, solidifying it as a core element of her evolving visual language. It was here that she truly embraced the fusion of her artistic influences, merging her deep love for color with her exploration of pattern and form.

Beyond the triptych itself, this project also introduced her to the world of wearable art. By transforming her artwork into a t-shirt design, she stepped into an entirely new realm—one that allowed her work to exist beyond the confines of traditional galleries. The realization that art could take on new life, moving with people and becoming part of their everyday expression, was a powerful moment of artistic expansion.

A Yearbook-Style Archive: Capturing the Creative Spirit

Currently, Jimmy is working on her most ambitious project yet—a yearbook-style archive that weaves together photography, painting, and interviews to document and celebrate the stories of contemporary creative innovators across disciplines. This project is more than just an artistic endeavor; it’s a way to preserve and honor the individuals shaping today’s creative landscape in a tangible format that transcends fleeting digital spaces.

By capturing the essence of this moment in time, she hopes to create a resource that future generations can look back on—a time capsule of creativity that reflects the voices, visions, and artistic movements of today.

Art as Connection & Community

At its core, Jimmy’s work is about fostering connection—bringing people together, facilitating knowledge exchange, and nurturing spaces where creative growth can flourish. She believes that art thrives in environments of curiosity and openness, and that true artistic freedom comes from embracing fluidity rather than confining oneself to a single medium.

Her latest project embodies this philosophy, proving that artistic expression should be ever-expanding, fearless, and uninhibited. By creating work that spans different formats and disciplines, she challenges the conventional boundaries of what art “should” be, advocating instead for a practice that is organic, evolving, and reflective of the artist’s personal journey.

A Message to Fellow Creatives

To every artist, creator, and dreamer:

Start now. Start where you are.

Perfection is an illusion—one that too often keeps brilliant ideas locked away. Growth comes not from waiting for the “right” moment, but from daring to create in the present, embracing imperfections, and allowing yourself to evolve through the process.

Your ideas are valid. Your vision is worthy. Give yourself permission to experiment, explore, and take up space. The best work doesn’t come from waiting—it comes from

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When one is forced to leave their homeland behind, bearing the imposed designation of 'migrant,' whilst carrying cherished memories of home on their back throughout the rest of their lives. What aspects of themselves are tucked in and do they get to preserve? Whereas, what parts must they abandon due to displacement? This is what Congolese-Canadian multi-disciplinary artist Rose Katembo is seeking to unfold in her latest exhibition ‘Interlude’ presented during the 43 International Festival Arts Films (FIFA 2025) at Usine C in Montréal.

Born in the Democratic Republic of the Congo during a period of war, Rose Katembo spent early years of her childhood in Tanzanian refugee camps before permanently relocating to Montréal, Canada at 8 years of age. Sitting with an impressive amount of 4 different languages; namely French, English, Swahili and Lingala, thus making her a quadrilingual, Rose naturally gravitated towards languages through art. With a focus on the intersection of language and identity, a personal journey she had to endure after her final destination to London without the safety net of her beloved family.

The title ‘Interlude’ originates from the Latin word interludum. Inter meaning ‘between’ and lude which means to ‘play.’ A parallel can be drawn to Rose’ own life transition, having to redefine herself with the French and English language once she settled in Montreal’s suburbs, while keeping Lingala and Swahili strictly spoken at home with her family. This intricate dance of code-switch prolonged even further, as her first independent voyage to London city meant she could no longer exercise a part of her identity; the Congolese languages she had brought with her when she flew to Canada as a child. It was until she had met a pair who spoke Lingala, her mother’s tongue, a sense of home was extended in this new environment. To live in-between as a migrant is something Rose is not unfamiliar with; however, understanding the loneliness from giving up fragments of oneself to gain a new adventure was perhaps a challenge she had long forgotten and therefore, needed to experience anew living in a different city. At the foot of it, this is how the idea of an exhibition took shape.

Through the distinctive narratives of four African women—originally five—namely Esperance (Lingala to French), Zam Zam Warsame (Somali to English), Nasir (Swahili to English), and Neema (Kinyarwanda to English), whom Rose invited to explore their sense of self through  their linguistic identities, a compelling visual narrative emerged. Analyzing the minutiae of language shifting and code-switching reveals the complexity of multifaceted identities. Similar to the artist herself, these women traversed continents, most carrying nothing but their native languages and childhood memories across oceans. In the video installations, dispersed throughout darkened spaces, each woman articulates her self-perception through poetry, ultimately integrating her dual linguistic personas into a unified whole.

It goes without mention that the exhibition also featured a mask of one particular exhibited woman with her own face titled ‘Na Leli’, an artwork paying empathizes with the literal transformation of identity or visage, suggesting a complete metamorphosis into another being. This is a shameless reference from the Congolese-Belgian artist Baloji, who never shied away from extravagance and masquerades. Another peculiar object presented was a silver container interpreted as a family album. The box; however, rather than containing any family photographs and souvenirs, Rose describes its contents as; “residual traces” of the languages spoken by the African women displayed. This powerful metaphor implies how through forced displacement, one often only carries their native tongue with them, and through the process, what may remain as a result are fragments of a language once primarily spoken. This highlights the profound impact of migration on linguistic identity.

Rose Katembo’s solo exhibition not only displays the importance of language within the web of one's identity, but also, unveils how it can be used to unify or isolate communities. It brings up crucial questions such as what truly makes an individual's identity? And as the world is becoming more and more multicultural due to globalization, how much weight does preservation truly hold, if any? Perhaps a lesson we may take away from ‘Interlude’ is we all want to belong, just as this personal journey of Rose began with her search for belonging, it is in our human nature to seek a space where one is recognized for the fragments of one's past as much as the inevitable force of change and whom one is ultimately becoming.

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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: Bonnie Clyde

Jacket: Silpa Clothing

Trousers: Vintage Yard Market

Shoes: GUCCI

LOOK #4

Full Look: Peter John

Jewellery: Skyethestudios

LOOK #5

Jacket: COOBA London

Shirt: Richard James

Trousers: Blue Marble

Shoes: GUCCI

Jewellery: Skyethestudios

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At just 13 years old, Simisola Gbadamosi has made history as the youngest Nigerian nominated for an Emmy, thanks to her breakout voice role as Tola in Disney’s futuristic animated series Iwájú. In this exclusive interview with Deeds Magazine, Simisola reflects on her Emmy journey with warmth, humor, and honesty. Captured in a striking photo session by Debra Orols, this feature celebrates the grace, ambition, and bright future of one of Nigeria’s rising stars. SIMISOLA GBADAMOSI: Hello, my name is Simisola Gbadamosi and I am here with Deeds Mag.

DEEDS MAGAZINE: How did it feel to attend the Emmy Awards and represent Iwájú on a global stage? What was your most memorable moment from the Emmys—was there a special interaction/person you got to meet during the event?

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SIMISOLA GBADAMOSI: It felt amazing to attend the Emmy’s on behalf of Nigeria and Africa. At first, I didn’t fully grasp the magnitude of it, but when it hit me, I wasn’t sure what to say—I was just really happy to be part of the project. The most memorable moment was meeting Leah Sava Jeffries from Percy Jackson and The Olympians. I would have said hi to the others, but I got nervous [laughs]. At one point, it was just Leah, but later, when I went to get ice cream, the rest of them were standing behind me, and I thought, Yeah, no, I can’t do this right now.

DM: Was there any experience that stood out to you?

SG: Just the entire ceremony really, it was very cool to be there.

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DM: How did it feel to walk the red carpet?

SG: It was nice, short, sharp and fun. Interestingly, my dress matched the carpet, which was not intentional, that was fun.

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DM: You said you were nervous going into the show, looking back if you could tell yourself anything before the show what would it be?

SG: Even if you don’t win, you’re gonna live, okay? And you’re still going to Disneyland, so there’s that!

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DM: What went into choosing your look for the event?

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SG: Yeside Laguda in Lagos, Nigeria made my Iwájú premiere dress, so we were like we might as well just go back because I loved it. So, my dress was designed by Yeside Laguda, it had an aso-oke bodice with beading, we all agreed on going for an African Disney princess look. It was a gift which I am very grateful for! And my bag was also a gift, custom made by Aaboux also located in Lagos, Nigeria, very nice of them.

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DM: Were you intentional about picking your look?

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SG: Yes! I was [intentional] because I can be quite particular about how I look, and I wanted it all to be Naija (Nigeria) to the world!

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⁠DM: Are there any other experiences you look forward to having in your career?

SG: I hope to do more acting and voice acting, now that I have experienced it, I want to do more. I want to jump into the pool after dipping my toes in. Hehe.

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DM: Do you want to explore more voice acting, live-action roles, or even other creative fields?‍

SG: Definitely! I want to do more voice acting, and live action, and I also really love design, so yeah.

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DM: Balancing school and acting must be a big task. How do you plan to navigate your career now that you’ve achieved such a huge milestone at a young age?‍

SG: You have to manage your time, number one. You have to focus on your focus, you have to focus on school. For example, next week there are exams so all Emmy’s whatever is going to be in a storeroom for a bit, and I need to grind, grind, grind. I don’t like seeing anomalies on my report card, thank you.

DM: Love it! Now that you're back in Nigeria, how has your family, friends, and community reacted to your Emmy experience?‍

SG: Before we left America, my friends sent me some nice messages and some really funny ones as well. My family has always told me that they are proud of me and I am glad that I get to make them proud again.

DM: If you could give advice to other young Nigerian actors or creatives dreaming of global success, what would you tell them based on your Emmy journey?‍

SG: Never give up. At the Emmy’s I met someone who had finally won after not winning for 30. Years. So don’t give up people, don’t give up. Thank you, Deeds Magazine, for being a part of my journey, and for this interview. Bye!

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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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What is there not to love about Kody Phillips?

Self-taught and established designer, Kody Phillips founded the clothing line dating back to 2016, right in the heart of Brooklyn. His fashion-forward, high-quality luxury menswear line has always been a popular favourite amongst the fashion fanatics. He most recently debuted his showroom collection at Paris Fashion Week, 2025 and even developed the tailoring and designed 5 pairs of bespoke trousers for the Kidsuper PFW25 presentation.

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In his recent campaign, Kody Phillips puts his team, front and centre in a comical mashup asking them a series of questions with their honest (and sometimes hilarious) answers into a creative, fast-paced ad. The campaign highlights pieces from his AW25 collection, which debuted at Paris Fashion Week and leans into the raw, unfiltered storytelling that has become a Phillips signature.

What stands out with Phillips’ latest campaign is instead of a predictable, pristine campaign, we get to see his team on camera unfettered with candid moments. The idea of using bloopers is authentic and raw but most brands don’t reveal this side to us but those barriers are broken here. This is what matters the most to consumers and we don’t see enough of it. There is a sense of a fourth wall being broken, where the campaign invites you in.

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The perception of authenticity is something many luxury brands can adapt to their campaigns instead of treating the consumer like a number. So, in this fashion world full of luxury and mystique, is relatability now the new “luxury” fashion brands need to start adapting? Possibly it's now time we see other brands take a note out of Phillips’ book.

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"Woman to Woman'" is more than just a song; it's a heartfelt message of unity and empowerment. It's a call for solidarity, showing how multifaceted women can be and reminding women that they can be whatever they want to be in their lifetime." The track is among many on Simi's fifth album, Lost and Found. 

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Simi penned 'Woman to Woman' not just for herself, but for every woman who resonates with its message. The song, a blend of her soulful vocals and deeply resonated storytelling, celebrates the strength, struggles, and beauty of womanhood, making it a relatable anthem for many. 

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The release of its music video brings the song's message to life with vibrant storytelling and powerful visuals. Simi showcases the different facets of women's daily struggles through striking scenes. Every frame is intentional, capturing the essence of sisterhood personally and universally.

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As a representation of one of the many themes across the album, Lost and Found embodies love and healing power; the album itself is a new chapter in her career and embodies her femininity and womanhood in a way that audiences haven't seen before. This is something we captured for our cover story, with the display of Simi in a way in which she hasn't been seen. Her softness and ethereal nature were intentionally displayed, allowing her to let us in. 

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The album and everything it says about her brings us to the classic Afro-pop sound we have known her for. With collaborations from the likes of Tiwa Savage, Ladipoe, and Aṣa, to name a few, she created a well-rounded body of work. 

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She shares her process, motherhood, cultivating her sound, and so much more. 

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Deeds: The album's title is Lost and Found. What does this represent to you, and how does it represent the album?

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Simi: "Lost And Found" is representative of how I journeyed to the point where this album had to be made. You have to learn how to be different things at different points in your life. As you become these things, you decide what parts you want to keep and what parts you are going to let go of. The album expresses some of the things I intentionally chose not to keep but still needed. When I think about it, though, it had to happen this way. It's easy for people to take things for granted when they have unlimited access to it. This goes for the creator and consumer. I'm just happy I found it again. I wanted people to hear this and remember why they fell in love with my music in the first place; a refresher is nice second because people forget.

D: When did the idea of the album begin for you?

S: The idea for this album began about two years ago. I had made a different album, but months after, I didn't feel any spark. I felt lost because I wasn't even sure what story I was trying to tell anymore. That's a hard thing for someone like me because I usually know. I scrapped the previous album except for three songs and started over. I decided that I would let my heart lead rather than the industry. There was a big boom for Afrobeats and a lot of overthinking. I let all that go and just made music that my heart needed. That's how I ended up here.

D: What was your mindset going into this album and how was the process overall?

S: The switch from trying to do what I felt was needed from me to doing what I needed for me transformed my mindset. My goal was now to pull the people that were for me. Not everything is for everyone. That can be hard to navigate in the Nigerian music industry because the genres and sounds are not separate enough. The lines are so blurred that there's almost no line. For example, we're all Afrobeats artists. If you say otherwise, you're problematic. We're all catering to the same crowd. If you don't fall in line, multiple think-pieces will be written by people who are not naturally inclined to listen to your sound in the first place. We are all trying to beat the same drum. Dance to the same beat. Speak the same language. That's an impossible thing to do successfully all the time as an artist. You try, so you lose the truest parts of yourself. So, I had to switch from thinking I had to follow those rules because I didn't have to. I'm Simi. Nobody else can be me - so that's all I ever want to be.

D: How does this album feel different from your previous work?

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S: The best people to answer this will be the listeners. I try to be as true to my feelings when making a project. This project is the same as the others in that way. It does sound like an original Simi, though. It's cohesive. It's the kind of album that holds onto you and doesn't let go, but not too tight, so you don't notice it at first. It doesn't just sit in front of your brain permanently and distract you. It knows how to be in the back, soothe you, and come in the front when needed. This might sound a tad dramatic, but I explain it this way because that's how it makes me feel. It's the kind of album that can make you feel a range of emotions, from calm to energised and everything in between.

D: Speaking on your identity as an artist and your role as a mother, how has motherhood changed your approach to music, if at all?

S: The most significant impact being a mom has had on my music is it has made me a better time manager. Previously, I would stay in the studio for 16 hours a day, only taking breaks to eat, if that. I am a perfectionist, so I can do one thing 500 times, no matter how long it takes. I don't have that luxury anymore. So now, I'm in the studio for five hours, and instead of 500 times, I'll do it 50 times. I'm also more productive on the go because I have to be. Motherhood has sharpened me.

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D: There is a lot on the album that speaks to the various parts of yourself regarding everything that encapsulates you as a woman. In getting to this point and reaching this stage of your life, how have your experience and your view of your own femininity changed?

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S: This album does have a song called Woman to Woman. I wrote that song for myself and all the women that want and need it. There is pressure as a woman, regardless of the industry you find yourself in or the path you choose. Pressure to be stronger, and if you're "too strong", pressure to be "softer". Pressure to be sexier, and if you're "too sexy ", pressure to be modest. Pressure to marry and have children. If you have children and slow down, pressure to be more ambitious. It goes on and on. I aimed to tell as many women as possible that you're okay where you are. You're enough. If you need more, go for it, but do it for yourself. I make sure to tell myself this as well. Some days, it's harder to remember. Maybe your hormones are working hard on those days, or you just had a bad day. But don't forget to remember you're enough. Occupy space. Be kind, but occupy space and be happy.

D: You've spoken about this album being about reclaiming your chemistry with music melodies and love stories. What would you say have been the shifts in your relationship with music throughout your career? 

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S: I know that I did it successfully. I know because of how the album made me feel before it was released. I've done some experimenting, and I'm grateful because it was also instrumental in fine-tuning my skills. I've learned how to master a fusion in all the sounds I have explored, making my songs still very authentic. I'm excited about where I am now and look forward to the next thing.

D: You had a hand in producing the title track and mixing the entire album. Can you speak to me about that involvement and why you felt you wanted to do it? 

S: I have always mixed my songs, starting with my first mainstream album, Simisola. My voice is very distinct, and I used to believe that most of the mixing engineers who had worked on my voice were not as great with my voice as with other peoples'. I decided to learn how to mix on YouTube. An old friend taught me how to master. My first experiment was my very first EP, "Restless". I was still unsigned at the time. I had no money, so I recorded that project with a USB mic on my refurbished laptop. I downloaded Beats off of YouTube and made the EP myself. It was six covers, but I completely changed the lyrics and stories. It is one of the most important projects I've ever done because it proved I could do so much. Somebody else mixed my first mainstream single, "Tiff", but I just started doing it all myself after that. As for production, I don't have an innate love for it as I do writing or mixing, but I wanted to learn it to say that I could do it. I produced the first song on the album, which was also titled Lost And Found. It is a very emotional song, and I wanted it to be personal down to the production.

D: Speaking of the collaborators you have on the project, you once again worked with Ladipoe on the follow-up to your first collaboration, Know You. What was it like linking it up with him again?

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S: Ladipoe is one of my favourite people to work with. He's very particular, just like me - maybe even more so. I suggested something else to him, and he said no, we need to do a sequel. My mind just lit up. I love it when artists apply themselves while doing a feature. It shows they're invested. It excites me. This might not even be the end. He's incredibly talented. He was the only one I got to record in the studio. I finished it independently, but we got the idea and the vibe together.

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D: You also worked with the queens Tiwa Savage and Asa. So, tell me about working with both these women and why you wanted them on the project?

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S: All the features on this project were very intentional. I just knew each song needed each person. Tiwa is incredible. When I decided I wanted Men Are Crazy to be a feature song, it was a no-brainer that it had to be Tiwa. She was so sweet to work with. She was working in London then, and she found time to go to the studio and record her verses. Aṣa is a legend to me. She was one of the few people I listened to as a teenager, and I used to be so in awe of how ethereal she was. It made me believe that anything was possible. From the very beginning, I always hoped that one day, we would make magic together. I made the song from scratch specifically for her. She was amazing as well. She was also very involved, especially as I mixed our song. I loved that because it pushed me to give it everything.

D: You also worked with LOUDDAA, who produced much of the album. So, can you speak about crafting the sonic sound of the album with him?

S: As great as it was to work creatively with him, my favourite thing about him was his personality. He was easy to do the back-and-forth with. He was very open to my ideas. I'm the type of artist who hears something she likes and locks onto it. This is probably why he ended up producing 10 of the 14 songs. He had the perfect sound for what I was trying to achieve. We made amazing stuff together. There are even some songs we had recorded that didn't make the album. It was a great pleasure working with him.

D: You channelled your classic Afro-pop sound, which you are known for, but on this album, you also brought in some different vibes. So, how do you feel you've been able to elevate your sound while still maintaining your authenticity?

S: I love this question because this is exactly how I see the album: classic but elevated. The more you do something, the more you know how to do it. I've done it long enough to make the fusion happen more effortlessly and instinctually. I've also seen a lot of feedback from people alluding to this. I'm glad that what I aimed to convey came through.

D: Talk to me about the artwork.

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S: The team and I worked through a few ideas before we agreed on the final one. The idea of finding treasure was great. There is something childlike about it, which I love. It's also very literal, and I like that because it immediately does the work asked of it.

D: How would you say you have been able to cultivate your sound and reach this point in your career?

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S: I went on a search for my sound sometime in 2012. Before that, I had been doing just about anything. Pop. R&B. Folk. Anything. My voice was already distinct, but I knew there was more. So I went to the States, had my little laptop, and was recording on the Adobe audition software, which was certainly not designed for music production - at least not as far as I know, and not at the time. But it served me. I would write and record different sounds and songs. I had been talking to Oscar before that. Oscar was my very first music soulmate and director. He was and still is a mentor to me. He had told me, "You have a great voice, but you need to find something that sets you apart." This was one of the things that set me on my quest. One day, I wrote a song. The verse was still very usual, but the hook sounded special. I don't remember the song, but I knew I had something. Afterwards, I started writing songs like Tiff and Jamb Question, knowing I had hit the jackpot. I returned to Oscar with my new findings, and my life changed.

D: What are you looking forward to as you embark on the next career chapter?

S: I'm a very live-in-the-moment kind of person. I do look forward to doing more exploits. Chasing more of my dreams. There are things I want to try that I've never tried out loud. I plan to continue putting my best foot forward as best as possible.

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CREDITS:

Photographer: Isha Shah @ishashahphotography

Creative Director & Producer: Seneo Mwamba @SeneoMwamba

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

Lighting Tech: Alex José @alexjose.photo

Lighting Assistant: Bella Bujosa-Armora @howimwastingtime

Stylist: Dami Oke @dami_oke

Makeup Artist: Hawa Abdallah @facesbyhawa

Hairstylist: Yeama Saphare @theallureparlour

Art Director/Set Designer: Shania-Mae Wright @shaniam00

Creative assistant: Whitney sanni @its.whit_

BTS: Olamide Rufai @lamilogan

Design: @margokatesmith & @ShalemAlone

Writer: Seneo Mwamba @Seneo Mwamba

Studio: Hot Dog Studios @hotdog_studios

Marketing Manager: Ashleigh Simone Brown @ashleighsimoneb

Styling

Look 1: The Venus dress - @houseofalvin

Look 2: Dress - ASOS @asos

Look 3: Custom Look

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It’s 2002 and you’re flicking through the Argos catalogue finding something to mull over, but this was because you’ve had to shift your focus onto something else. All down to the fact that your mom refused to buy you a pair of Airmax 95’s, as her eyes nearly popped out of her head after seeing the price. Your heart begins to rapidly beat as you’re anticipating the news you have to deliver tomorrow to your school mates as you said you were going to rebelliously match your neon 95s to your green school tie.

Clint 419, the UK’s marketing genius and designer for Corteiz has created historical pieces with his love for nostalgia and niche pop-culture. He heavily references this in his clothing and campaigns, one being the recreated Simon Wheatley photograph of MC Crazy Titch back in 2004.

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Every release Clint has dropped, he has communicated explorations with a touch of his memories growing up as a child and teenager. Amongst the different elements of his designing tools, nostalgia is most definitely one of them. It would be a great opportunity to see him create a look book from his campaigns in the style of old school, Nike Japanese magazines from the early 2000s.

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We don’t collect or own physical-archival merchandise anymore. Social media has normalised the unhealthy, overconsumption of media and we miss out on creating a sense of remembrance. The Japanese, Nike magazines were bold, fun and ahead of its team for sure. This wasn’t just a magazine for sneakers, but a moment to capture a monumental time in life, essentially a time capsule.

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Clint will execute this perfectly. This isn’t about replication but about documenting history and he has done that in the most refined way previously. Let’s see if this could happen. What do you think, would you purchase this? Because many people will for sure.

For fashion district this week, we conducted a mini interview with Tomi Agapé, founder of Guapé and her journey with designing her shoe wear line and finding out a bit more about the designer.

Can you tell us the story behind Guapè, Basically what inspired you to start?

Guapé came just as organically as music did for me. I've always loved fashion and it's been a major part of my image. In June 2024 I was making shoes for myself just for fun and every time I posted them on my Instagram story I'd get loads of DM's asking where they were from.. in person I'd get compliments & questions also. So I decided you know what? I'm gunna do this. 1 month later, Guapé was here.  

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How has starting a fashion brand influenced your personal style?

I think my style and Guapé go hand in hand. I make what I like and what I'd wear. I'm kind of my own muse right now

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Tell us about one of your designs and also your  favorite boots from Guapè?

My very first drop was the "orchid collection". This collection was special to me because it's my mums favourite flower. I loved vintage Manolo Blahnik's and I wanted to create something just as beautiful with Guapé. I've done orchid kitten mules, high mules & stiletto heels. I'm just having fun with it.. it feels amazing creating and bringing it to life. My favourite boots from Guapé are the all black orchid boots. Sexy, chic and black.. just like me!‍‍

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What does fashion mean to you personally?

Fashion is expression. It's the thing that speaks for me first before I even open my mouth.

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Who are your biggest influences in fashion and beyond?

I think my top two would be Tracee Ellis Ross and Rihanna. They have fun with fashion and I love that. Rihanna also really inspires me on a music & business level.. she's really shown the girls that we can be multifaceted and do it all. I started with music but I have sooo much more to offer. I'm talented & smart enough to run my own business.

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What’s your creative process like?

my creative process isn't really the same all the time. My brain runs a million miles per hour! I'll see something and just automatically know that this mixed with this and adding a little bit of that will turn into this beautiful shoe. I can't really explain it.. it just comes. I think about textures and colours and how it'll look all together. I also kind of know what will work. And if it doesn't.. it's ok because the next one will.

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Any new designs on the way from Guapè?

‍ For sure.

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When you’re not designing or curating a piece, what can we catch you doing?

Making music, listening to music, eating, reading a novel or binge watching a comfort show.

Selah is not just about art, "it's that real", capturing storytelling through his beautiful, distinctive, dark and dimensional photography. The 28th is where you can witness this all.

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Visual artist and director of motion pictures, Gabriel Moses is exhibiting in London on the 28th of March 2025. Titled, "Selah", the exhibition will continue on till July 27th this summer at 180 Studios.

A mosaic of his creations will be on display featuring the likes of Skepta, Jude Bellingham, Travis Scott and the list of notable names is endless. Not forgetting his collaborative projects with BYREDO, Nike, Louis Vuitton, Burberry, and Denim Tears.

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The exhibition will feature 16 rooms with over 70 photographs and 10 films, this will be the exhibition of the year without a doubt. For the new exhibition taking place on the 28th, Gabriel Moses has developed "a new series of photographs and will premiere his new short film, The Last Hour". The film was shot in Atlanta, Georgia and is about following a "one man's" journey, finding "solace in solitude whilst in pursuit of redemption".

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Having recently showcased his solo show (FATIMA) in New York, last November and designed the seminal statuette for the Brit Awards. This further cements his reputation as a visual artist which has always reflected in his body of work over the last few years.

The up and coming exhibition is one for the history books and something you will regret missing out on.

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To purchase tickets, click the link here

A new ASICS lifestyle trainer fusing retro aesthetics with modern comfort, with exclusive colour ways only available at JD

‍17^th March 2025: JD, the leading retailer for sports, fashion and lifestyle brands announces the launch of the ASICS GEL-SEKIRAN™, a new lifestyle trainer that combines nostalgic design elements from iconic ASICS running shoes with cutting-edge comfort technology. This new silhouette captures the essence of archive running styles from the 2000s and 2010s, making it a must-have for tech sneaker wearers and retro enthusiasts alike.  The campaign, beautifully captured in the vibrant streets of Marseille, showcase the trainer's stylish design against the backdrop of this iconic city.

The ASICS GEL-SEKIRAN™ draws inspiration from several beloved models, including the GEL-NIMBUS™, GEL-CUMULUS™ 12, and GEL-CUMULUS™ 17. The upper construction cleverly merges full-bodied mesh with carefully curated overlay patterns, reflecting the retro running aesthetic to ensure breathability without compromising on style or function.

In contrast to its nostalgic influences, the ASICS GEL-SEKIRAN™ features the advanced innovative tooling system of the GEL-CUMULUS™ 17. This midsole is crafted with a combination of lightweight foams and ASICS’ signature GEL™ technology inserts, delivering impeccable underfoot comfort for daily wear. Whether you’re running errands or hitting the streets, the ASICS GEL-SEKIRAN™ is designed to provide unparalleled support and cushioning.

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Opening at Galerie Perrotin in Paris, "FEMMES" represents Pharrell Williams' powerful return to curatorial work, marking his first group exhibition since 2014's "G I R L." Running from March 20 to April 19, 2025, this ambitious showcase brings together up to 40 international artists in both a personal tribute and a broader cultural statement. Curated collaboratively by Williams and Emmanuel Perrotin, Black womanhood - a subject often dismissed and rarely celebrated, takes up center stage in this gathering, and gets retold creatively through the likes of Nina Chanel Abney, Gabriel Moses, Prince Gyasi and many more. 

We sat down with one of its exhibitors, Otis Kwame Kye Quaicoe, via. Zoom calls to discuss his personal journey towards this once in a lifetime opportunity to be part of an group exhibition curated by Pharrell Williams.

Hello Otis, would you like to introduce yourself?

My name is Otis Kwame Kye Quaicoe. Born and raised in Ghana and I now reside in the United States of America. I’ve been here for close to 8 years now. This is where I have my studio and work. My home is here and that’s pretty much all I can say about myself [laugh].

Would you mind telling us where in America you are based?

I am based in Portland, Oregon. It is just two hours from Seattle.

Let’s just start from the beginning; tell us a little bit about your upbringing in Ghana?

Just a typical Ghanaian upbringing. I am from a christian family and the fourth born of Seven. I’m the only artist in my family! As you grow there, you also find your own path and you start understanding life. My love for art started at an early age. My love for magazines, especially the EBONY magazine, where you have all of the Hip-Hop stars and all of that. But I discovered art through movie theaters as well, where I saw a bunch of street art and such. It drew my attention, the interest was there and so, I started to play with colours. I didn’t know what I was doing but I just loved the fact that you can create something with colours and the freedom and everything you get from it. The love continued to grow and then, fast forward, I just found out about an art school program, and decided to pursue it full-time and see where it leads me. 

Funny enough, during art school, I was not into portraits and figurative art at all. It was mostly abstract and landscaping but figurative art started growing when the world became more digitized. I took an interest in photography and started taking photos of people, and that’s where it connected to me. My parents were very supportive of my career from the beginning because my dad is a musician and a creative person. My mom does a lot of ceramic and is also into hairstyling. They even edged me into doing it full-time because I was also working as a graphic designer but my dad was like; “If you love art, just focus on one thing. Save up money, quit your job and just go for it!”. I’m always thankful for his advice wherever I am in life. 

It’s definitely not something you would hear often from African parents and so, it is lovely to hear. I’m curious, when does the US come into the picture?

I have always been curious about the rest of the world. Curiosity is always where I find my breakthrough, sort of like a kid as we know how toddlers tend to learn. You told them not to go there but they always want to know the reason why you’re telling them not to. Leaving Ghana and living here helped shape me as a person. You learn two different cultures, it opens your eyes to other things you have always been wondering about. The upbringing back home and living here, the two cultures blended together just create a whole new kind of person and artist. Everyday is a learning process. 

You’ve exhibited in quite a vast range of continents. Recently, you’ve been acquired for a new group exhibition and an exciting one; FEMMES. Walk us through the journey; how does one get invited by Pharrell Williams for such an opportunity? 

I know right! I think it always leads back to your resume. Honestly, I’m always surprised when this kind of invitation is sent to me because when I see an email like that, the first thing that comes to mind is I always think it is a scam [laugh]. I usually don’t respond to it immediately, google the email and try to find out if this is legit. I always tell people I still see myself as an emerging artist, even though I am getting all of this attention. For me, I always think that I'm not where I want to be just yet. 

So when these types of opportunities come my way, it just takes me by surprise. There are a whole bunch of artists, why did they come to that conclusion? But again, as you sit back, you realize it comes from one's resume. You are so caught up in the moment that you forget that you’ve done so much in the past that leaves a trace behind all of the good work that you have done. I am always appreciative that the work I’ve done in the past years, gets to be recognized and they see my contribution. 

We’ve all seen the artists list by now and there are a couple of names that come to mind such as Gabriel Moses and Prince Gyasi. What does this mean for you personally to be brought into the world stage as a Ghanaian and the community that you come from?

It’s a huge thing for my country, for my community, even though funny enough, they usually don’t tend to recognize all of this is happening. Ghana is still slowly developing but it is not fully acknowledged by the government. To see what me, my colleagues and other artists are doing outside of the continent. I remember years back in school where me and my colleagues used to sit down and we told ourselves one day we would exhibit in great places, we would be among the best and all. When that starts to unfold, then your mind just goes back to when you started all of this and you begin to ponder like wow, this is really happening.

It means a whole lot to the black artists, African artists too as respect has not been put on us. Our art was for long not considered valuable. So it’s really important to be a part of these shows and be recognized as one of the best also. 

Now this will bring us to the theme Femmes as it is women’s month, however, in particular, the exhibition focuses on black womanhood. What does it all mean to you?

If you’re telling me what black women mean to me, my mom is an black woman and an African woman. Growing up in Ghana, I’ve seen the struggle that my mother went through, I’ve seen the pain, the tears, the heartbreaks, making sure that her kids are well fed and have the best of life. I look at it from this perspective and then intertwine it with other black women you meet that also do their own thing in their own ways. From the world’s perspective in terms of me being here and how black women are being treated in workplaces, at home facing abuse and going through silent battles. What I embrace is their beauty, their intelligence, their figure and such. It even goes back in history when black women’s bodies were seen as something monstrous. When in reality, black women are the embodiment of what we all are. 

Speaking of your personal work that will be exhibited, is there any exclusive detail you can share with us? Which pieces have you or Pharrell the curator chosen to represent black womanhood?

I chose two pieces. One is almost like a reflection of the old renaissance paintings, where you see this nude magnificent woman with a cloth and flowers entangled in their hair. I redid my own version of such by painting a black woman and for me, it was important to do so because in most of the museums I have visited, I’ve never seen a person that looks like me or a black woman in a peculiar pose. Even though they are half-naked, you wouldn’t even look at their nakedness. It is just recreating history and pushing black bodies in a way that has never been seen before or in a way that you have never thought possible to see a black woman in such a position and environment.

The second piece is the same figure but this time, she’s more relaxed seated on a couch.  But also, pulling you in as there is a sunflower nearby. When you see the painting,  it is to project the confidence in her body and how she feels about herself. The way she’s looking at you draws you in, and tells you that this person is unapologetically confident in her body and who she is as a person. The sunflower softens her environment and symbolizes the humility of the person. This is to embrace the beauty of the black woman’s body and also, not to sexualize as we always see. Just to embrace the beauty and confidence of the human in the painting. 

I think it is important to bring up the current political climate of the world, where in many places including Europe, the face of immigrants is being combated. That includes African immigrants. In contrast to that reality, you have exhibitions where the black portrayal seems profitable and prestigious. What do you make of this phenomenon?

This has been a long struggle and as long as there are people that think of others as less, there will still be this around the world. So far as institutions that show black arts and people of all colours, Africans supporting Africans, black artists supporting black artists, we must keep pushing forward. Over the years, it reached its peak when the murder of George Floyd and protests happened. You can also tell that it has dialed down again. It is just a matter of supporting each other and keep pushing forward because threats against immigration will always be there, all we have to do is keep pushing and keep pushing to suppress all of this down. 

As a final question, there is only a couple of weeks left and the group exhibition shall begin. What is something you want people to be aware of and take away? 

To recognize each artist of the show and once they leave the gallery, just remember what the show was about. They are not just looking at black women, but how far we’ve come and the deeper meaning behind the exhibition. Look closely at the paintings, there are clues you may find. 

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Photography isn’t just about taking pictures for iironic—it’s about capturing emotions, telling stories, and creating lasting impressions. With a background in advertising and design, she brings a unique approach to visuals, blending her deep understanding of composition, branding, and aesthetics with an intuitive and emotional perspective.

“I’ve always been into art my whole life,” she shares. “I actually went to school for advertising and design and worked full-time as a Designer and Art Director for years. But photography was something that always called me, even when I tried to ignore it.” Despite her busy career, iironic found herself drawn to the camera, using her free time to explore the medium.

Her entry into music photography happened naturally—many of her friends and connections were musicians, including singers, rappers, and DJs. “It started with them,” she explains. “I made sure I was always consistently shooting and evolving. The more I did, the more my work improved, and that opened doors to bigger opportunities.” Through persistence and passion, what started as a side pursuit quickly grew into something much bigger.

The Process: Feeling Before Framing

For iironic, the key to photography isn’t just about technical skills—it’s about emotion. Her process is deeply intuitive, shaped by how she feels in the moment. “My process varies depending on the shoot,” she says, “but the one thing that always stays the same is that I have to feel things out. My work is heavily tied to emotion.”

Before picking up the camera, she takes a step back to understand the energy of the moment. “What’s the mood? What’s the emotion? How do I convey that?” Whether she’s working on a commercial project, an editorial spread, or personal work, she prioritizes storytelling over aesthetics. “For me, it’s not just about making something look good—it’s about making people feel something.”

Pushing Boundaries and Exploring New Perspectives

Over time, iironic has continued to evolve her style, always looking for new ways to push her creativity. “I’m still figuring it out—experimenting, curating, and evolving,” she admits. “That honesty and willingness to explore is what will define my signature style.”

While she has a number of projects from last year still waiting to be released, she’s most excited about her personal work. “A lot of my latest work has been client-based, which is amazing, but I’m really looking forward to diving into my own projects—things that fully reflect my creative vision.”

Her journey is proof that persistence, passion, and a deep connection to one’s art can lead to incredible opportunities. And as she continues to refine her style and expand her portfolio, one thing is certain—iironic’s work will always be rooted in emotion, storytelling, and authenticity.

Follow her journey and keep an eye out for what’s next.

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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