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There’s this rush that comes with watching contemporary Nollywood movies. No offence to veteran actors like Fausat Balogun, Saint Obi, Bob-Manuel Udokwu, Olu Jacobs and Bukky Wright, and their pivotal roles in Nigeria’s movie industry but the difference between their time and the current Nollywood industry shows an interval bridled with innovation, creativity and exposition. This is clear and has put Nollywood in the spotlight for our stories to be heard our way. However, this has posed difficulties. Take, for example, the scene in Niyi Akinmolayan’s Lisabi: The Uprising where the main character, Lisabi, is some sort of demigod or super-warrior. Why was this only revealed 23 mins towards the end of the first movie? Or in Adebayo Tijani’s Alakada: Bad And Boujee where Rebecca decided to part ways with Yetunde because the charade with Mr Laha failed. How can this be the only reason throughout a movie that ran for 120 minutes? In fact, she seemed to enjoy scheming and conniving with Yetunde somewhat. These faults were too obvious in each movie and they raise a lot of questions. The most important, in my opinion, is what is the future of modern Nollywood?
Nollywood, a blend-word of “Nigeria” and “Hollywood”, drew reference from the manner and style with which key Yoruba theatre practitioners, like Hubert Ogunde and Kola Ogunmola, used to tell stories. Though redundant, these stories, told via celluloid, would advance the Nigerian movie industry to begin producing movies on VHS (Video Home Systems) as far back as 1992. As revolutionary as this period may have seemed, Nollywood constantly battled low-budget movie production, little autonomy and widespread copyright infringement. This caused filmmakers to make very little profit, despite churning out more movies than Hollywood. This sparked another evolution to the current state of Nigeria’s movie industry. Christened “New Nollywood”, the year 2010 (and thereafter) saw Nigerian filmmakers, directors and producers opt to improve the quality of the Nigerian movies. Notable achievements include national laws for copyright infringement, better equipment to enhance visual quality, adequate funding and better plots with dialogue.
Niyi Akinmolayan’s Lisabi: The Uprising is one of many movies produced in New Nollywood. Starring Lateef Adedimeji, Ibrahim Chatta and other prominent thespians, the movie tells the story of Lisabi (Lateef Adedimeji), a simple farmer from Egbaland who, upon losing his friend and community members to the hardship brought upon by leadership of the Old Oyo Empire, unites his people to stamp out oppression in their land. The movie displays the collective power of the people against their divine, autocratic and capitalist leaders and anchors itself on overarching themes like brotherhood, community and good versus evil. Upon its release, Lisabi: The Uprising garnered a lot of positive reviews and was given its due praise. With the outstanding performances of the cast and crew, the movie can only be described as thoroughly conceived, expertly produced and professionally delivered, a win for Nigeria’s movie making industry and culture. Equally worthy of praise is the Adebayo Tijani-directed, Alakada: Bad And Boujee. The fifth part of the infamous Alakada series, it stars Yetunde (Toyin Abraham) as the lead character who portrays herself as a famous and wealthy individual bent on seeking internet validation, legitimately or illegitimately. On this mission, she is aided by Abebi (Adebimpe Oyebade) and Rebecca (Bimbo Ademoye), both of whom employ any device in their arsenal, be it wit or allure, to bring Yetunde’s vision to reality. This movie itself is picturesque in that it is a rendering of the life of individuals who seek internet fame and popularity by any means necessary in modern society. At the end of the day, Yetunde admits to her clout-chasing behaviour and acknowledges the importance of being honest and humble about who she is and where she comes from. This message is well received by viewers, evidenced by the movie’s commercial records and success.
Given the rate at which Nollywood develops in all aspects, these movies exemplify the grit and determination with which the current generation of Nigerian filmmakers have used to build the current state of Nollywood. Yet, they expose the readiness of Nollywood film-making and cause an inquiry of Nigeria's movie industry when it comes to producing movies of certain genres. Lisabi: The Uprising, being historical in context, employs a lot of mysticism and metaphysical warfare to live up to its mandate. However, this delivery was poor because of the special effects used, which could be likened to a Yoruba adaptation of the 2004 video game, Underworld: The Eternal War. Like the latter, the special effects were abysmal and not given much consideration as regards execution. At some point in the movie, it seemed as though the special effects were “borrowed” scenes from other movies which fit the bill for a particular scene in the movie. Also, the scene where Lisabi was revealed to be a demigod, why did his friends (turned army generals) take in that information too calmly, as though they had forehand knowledge of their friend’s secret identity. Stretching further, why were hints not given as to Lisabi’s status as a demigod throughout the whole movie? In addition to this, Kunle Afolayan's “what farm are you taking us to” part was not worth the chuckle it was intended to induce for comic relief. The use of the incantation/proverb - a bulldozer never misses his way - is enough to doubt history’s assertions of the Old Oyo empire as it posits that modern technology was available in the Old Oyo empire. The icing on the cake would have to be the part where Sangodeyi (Ibrahim Chatta) was beheaded. From the sickle flying in the air as though thrown by the Prince of Persia to the part where Lisabi picked up Sangodeyi’s head, the testament to Nollywood’s fitness to produce or direct movies of this kind can be likened to the cordiality between the police and the people.
What Alakada: Bad And Boujee lacked in mysticism, it made up for with its integration of a salient characteristic of most New Nollywood movies - start out nice and slow, get to the middle and use the last thirty minutes to rush the plot and dialogue. An instance is the scene where Yetunde caught Madam Sharon (Ini Edo) and Cash (Kola Ajeyemi). There was nothing that was said to give up the whole idea behind why Madam Sharon threw the party. She never made mention of the purpose behind that so there was no need for Yetunde to jump to any conclusion but she went ahead anyway so that the movie could come to an end. With focus on Madam Sharon, she was easily carted away by law enforcement as though they were expecting her to slip up. The movie gave no backstory before or after the arrest had taken place. Lastly, as the movie’s lead character and the reason why the attack at Madam Sharon’s home took place, why did Yetunde fade into the background after telling Shola Shine Shine (Ronke Odusanya) what truly happened at Madam Sharon’s party? Did Yetunde get justice? More importantly, what is going to happen to her?
Both of these movies indicate a trend in storytelling in the modern Nigerian film industry. While Lisabi: The Uprising bordered mainly on historical storytelling imbued with the supernatural, Alakada: Bad And Boujee depicted a series of events that ultimately ended in Yetunde admitting to the error of her ways. On closer look, both of these movies revealed a huge gap when it comes to making films in the historical and comedy genres. Lisabi: The Uprising had a well-written script that could easily topple other movies in the same genre as the movie’s 107 minutes revealed that the dialogue and screenplay were thoroughly planned out and lacked the usual haste in Nollywood films. Though a sequel is expected, for a movie such as this, its storyline can only be applauded if its visual effects were on par with its script, which it sorely lacked. On the other hand, though the performance of the cast and crew were superb, Alakada: Bad And Boujee had too many gaps in dialogue, script and detail. Aside from commercial success, these movies showed the level of uncertainness and inability of Nollywood filmmakers to accurately produce movies in these genres. As a majority of the audience to these movies may lack in-depth knowledge of the movie industry, it goes without saying that a certain standard is expected. At present, our movie industry has a strong aptitude for romance movies. Though not perfect, this genre stands above all others and seems to be the only one worthy of a 7.5 IMDb rating. The level of technological advancement of Nollywood is also telling. Our filmmaking industry has done enough to improve the sound and visual qualities of movies but not how to properly produce and direct them. This pales in comparison to what is achievable when compared to our Hollywood counterparts. The fact that a little bit of nudity is now allowed in movies does little to sway from this important fact. The use of sufficient technology cannot be overstated.
The attention given to content from Africa, especially Nigeria, has grown in recent years. After fighting for our own independence, the world is eager to hear and see what we have to say since we are now in control. In the form of literary works, culture, arts and craft and, especially, movies, content churned out goes a long way in changing our international perception. Denying the fact that the creative catalogue of Nigerian filmmakers is far from exhausted would be a lie in and of itself. This article unequivocally opines that more can and should be done to broaden the genres of movies produced by Nigerian filmmakers. More importantly, more should be done to improve on the minute details in these movies. From the dialogue to make-up and setting, all of it matters, none more than the other, and each should not be overlooked because the manner and production of Lisabi: The Uprising and Alakada: Bad And Boujee show a level of uncertainty vis-à-vis the industry’s capability to properly produce comedy or historical movies and cast a very dark shadow as to the trajectory of filmmaking in Nigeria when it comes to movies outside the romance genre. The only light at the end of the tunnel is the level of consistency in improvement which Nigerian filmmakers possess. This propelled the evolution from VHS to streaming platforms like Prime Video and Amazon and is the determinant factor for Nollywood’s future dexterity. One can only guess what lies in store when it comes to filmmaking in Nigeria.
Lagos trendsetters enjoyed a magical night as Liquides Imaginaires teamed up with Cascades Luxury, a top niche perfume retailer to reveal their latest fragrance, LUNATIQUE in Nigeria. The exclusive launch event, held at the stylish Windsor Gallery on Victoria Island, offered a fresh take on luxury scents, immersing guests in a unique experience that blended elegance, contrast, and self-discovery.
Guests arrived dressed in sleek black, white, and silver, setting the perfect vibe for a night filled with elegance and intrigue. With artful installations and sensory experiences, attendees got to explore the scent firsthand and reflect on its deeper meaning.
“This isn’t just a perfume, it’s a connection. The notes reflect those hidden parts of ourselves, the strengths and vulnerabilities we don’t always show,” said Tanya Arupani of Rupani Consulting. “It’s bold, mysterious, and personal , an experience you wear to feel.”
The fragrance journey beging with fresh, bright notes of juniper, pear, and Sichuan pepper, leading into a smooth heart of iris, neroli, and carrot, before finishing with a rich, warm base of leather, oud, ambergris, sandalwood, and vetiver. Beyond LUNATIQUE, guests also got a taste of other top creations from Liquides Imaginaires, such as Liquide, Desert Suave, Dom Rosa, Fortis, Sancti, and Bloody Wood, each designed to turn personal emotions into unforgettable scents.
The fragrance journey beging with fresh, bright notes of juniper, pear, and Sichuan pepper, leading into a smooth heart of iris, neroli, and carrot, before finishing with a rich, warm base of leather, oud, ambergris, sandalwood, and vetiver. Beyond LUNATIQUE, guests also got a taste of other top creations from Liquides Imaginaires, such as Liquide, Desert Suave, Dom Rosa, Fortis, Sancti, and Bloody Wood, each designed to turn personal emotions into unforgettable scents.
Speaking on the inspiration behind LUNATIQUE, Tate Torongo, Regional Director for Liquides Imaginaires, explained, “We wanted to create something that reflects the contrasts within each of us and LUNATIQUE encourages perfume lovers to embrace hidden layers and find harmony in them.”
The event marked another milestone for Cascades Luxury with its goal of bridging the gap in Nigeria's luxury market.
Explore the fragrance range at cascadeslux.com
For this week's ART WITH DEEDS segment, we are spotlighting the creative journey of an artist - Chinaza Nkemka (artbutshy) currently engaged in two transformative projects: a group virtual residency with the Laho Initiative and a personal series titled “Eat My Fish”.
The virtual residency, a five-month program, has been an enriching experience that encouraged deep self-reflection. Through the residency, the artist reconnected with their inner child, revisited formative memories, and explored the nuances of their identity. This creative process led to a series of self-portraits that capture themes of uncertainty, self-acceptance, and individuality. Each portrait reflects a personal journey of self-definition, moving beyond external expectations to embrace the artist's unique voice. The exhibition for this series opened on December 20th and runs until January 18th, marking a significant milestone in their artistic exploration.
Parallel to this, Chinaza’s personal series “Eat My Fish” delves into themes of intimacy, love, and the human condition. The series, created over the course of one week, is a metaphorical exploration of the complexities of desire and self-sufficiency. Drawing inspiration from artist Sarah Lucas's provocative work, the series confronts the raw truths of human connection with humor and honesty. Each piece, created with acrylics on paper, was developed using a new drawing technique, evolving into a visceral exploration of creativity and vulnerability.
Chinaza’s process is characterized by a balance of structure and spontaneity. She thrives in an organized space, which clears her mind and fosters creativity. Her work is fueled by thoughtful conversations with like-minded individuals and a deep commitment to pushing boundaries.
Looking ahead to 2025, Chinaza is excited about the new projects and inspirations that will shape their evolving body of work. Her journey is one of continuous self-discovery, creative growth, and a fearless embrace of authenticity.
In our recent interview with Micle, the rising Afrobeats star behind the breakout hit "Ave Maria," he described the surreal feeling of debuting at #50 on the Billboard U.S. Afrobeats Songs Chart. Micle opened up about the unexpected inspiration for the track, born from a neighbor's ringtone, and how he crafted its unique blend of soulful melodies and infectious Afrobeats rhythms.
With his Nigerian heritage deeply woven into his music, Micle emphasizes the importance of creating authentic sounds that resonate globally while showcasing African culture and creativity. Micle sees himself as part of the larger narrative of Afrobeats, a genre celebrating African heritage on the world stage. He aims to inspire and unite through music that uplifts and bridges cultural divides.
Deeds: Congratulations on Ave Maria debuting at #50 on the Billboard U.S. Afrobeats Songs Chart! How does it feel to have your first entry on such a prestigious chart?
Micle: Honestly, this moment feels surreal. A few months ago, something like this felt like a distant dream. I've always poured my heart and passion into my music, but seeing it reach this kind of recognition is overwhelming.
Deeds: Ave Maria is such a captivating song. Can you walk us through the creative process behind it?
Micle: Recording and producing the track involves making decisions about how to best capture the performance, which can greatly influence the final feel of the piece.
Basically it was on a Sunday evening my guy and I Were Working on a beat but Short in lyrics while thinking, our neighbor next door handset rang and all we could hear was the old general Ave Maria catholic song and without wasting time we clicked in the idea and boom the captivating song was created..
Deeds: The blend of soulful melodies and rhythmic Afrobeats in the song feels unique. How did you approach balancing those elements?
Micle: Thank you! Balancing soulful melodies with rhythmic Afrobeats was all about finding a harmonious intersection where both genres could shine. I focused on retaining the emotional depth of the melodies while integrating the infectious groove of Afrobeats.
Deeds: Afrobeats continues to dominate the global music scene. What does it mean to you to be part of this movement, especially as a rising star?
Micle: Being part of the Afrobeats movement is incredibly inspiring and empowering as a rising star. It represents a rich tapestry of culture, creativity, and global connection that resonates with audiences everywhere. Contributing to this genre allows me to showcase my roots, share stories that matter, and connect with fans from diverse backgrounds. It's not just about music; it's about being part of a larger narrative that celebrates African heritage and innovation on a global scale.
Deeds: How important is it for you to stay connected to your Nigerian roots while making music that appeals to a global audience?
Micle: Staying connected to my Nigerian roots is incredibly important to me; it enriches my music and gives it authenticity while allowing me to share my culture with a global audience. By blending traditional influences with contemporary sounds, I can create a unique fusion that resonates across diverse listeners, celebrating my heritage while inviting others to experience and appreciate it.
Deeds: Ave Maria marks a major milestone in your career. Looking back, what were some of the challenges you faced on your journey to this moment?
Micle: Reflecting on my journey to this milestone with Ave Maria, I faced several challenges, including navigating the competitive landscape of the industry, balancing creative vision with practical constraints, and overcoming self-doubt during critical moments. Each obstacle taught me resilience and adaptability, ultimately shaping my artistic voice and commitment to my work. These experiences not only strengthened my craft but also deepened my appreciation for the collaborative efforts that brought this project to life.
Deeds: What do you hope to achieve as an artist in the Afrobeats space, and how do you want your music to impact people?
Micle: As an artist in the Afrobeats space, I hope to achieve a fusion of vibrant sounds that not only celebrates our rich cultural heritage but also resonates globally, bridging gaps between communities. I aim for my music to uplift, inspire, and evoke joy, creating a sense of unity and connection among listeners. Ultimately, I want my songs to be a source of empowerment, encouraging people to embrace their identity and find strength in their stories.
Deeds: If you weren’t doing music, what do you think you’d be doing right now?
Micle: If I weren't doing music, I imagine I'd probably be exploring my passion into Architectural developments, studied Architecture in school though,
perhaps working in writing or film, using my creativity to connect with people in a different way.
Deeds: Describe Ave Maria in three words.
Micle: Heavenly, serene, timeless.
One week into the new year, Moonchild Sanelly kicks things off with a bang. Her brand new studio album, Full Moon, is the latest offering from the South African songstress. The album, a testament to her artistic evolution, follows 2022 Phases and offers an eclectic range of sounds and vibes from Moonchild.
The album spans 12 and is an upbeat collection of tracks that bring her unique sounds and show her creativity the best way she knows how. Kicking things off with the lead single 'Scrambled Eggs', which introduced us to this new era in its upbeat and infectious way, sets the tone for the rest of the album. The album is a delightful mix of sounds, effortlessly delivering a range of genres while still bringing the signature Moonchild energy that is very present from start to finish.
Once again, Moonchild Sanelly's unique style shines through in her new album, Full Moon. From her iconic blue hair to her playful lyrics and infectious beats, she delivers a collection that's hard not to bounce along to. The album is a powerful celebration of self-acceptance and forgiveness, delivered with a carefree nature that's impossible to miss. Sanelly bravely shares her vulnerabilities and experiences, while also celebrating herself, her body, and her sexuality. She opens up about her fears and struggles, creating a deeply personal and relatable album.
Across Big Booty, To Kill A Single Girl (Tequila), Falling, Boom, and Mntanami, she shows the extent and depth of range she holds as an artist. Never one has been able to put herself in a box or confine herself to any specific general Moonchild, which again shows why she is one of one and will always stay in her lane. The album is an eclectic pick and mix of everything from amapiano, club dance beats, electronic, hip-hop, kwaito, and pop, all of which she is able to throw together in a way that makes sense for her.
The listening experience will have had you bumping along from start to finish. No doubt this alum will be able to translate live when she embarks on her upcoming UK tour in March—known for putting on a highly energetic display when it comes to her live shows. She has been on stages worldwide, so that arena is one where she will be able to give a stellar show and really bring the album to life.
Lagos-based photographer Danielle Mbonu presents her latest editorial, "Echoes in Silk: Accra’s Streets Unfolding in Couture," in collaboration with renowned Nigerian fashion brand Fruché. This project serves as a captivating exploration of the relationship between fashion’s refined elegance and the raw, vibrant energy of urban life in Accra, Ghana.
The editorial captures the striking contrast between Fruché’s sophisticated designs and Accra’s bustling streets, creating a visual narrative that blurs the lines between high fashion and the unfiltered realities of city life. Through this lens, Mbonu examines the harmony that emerges when two seemingly opposing worlds collide: the polished allure of couture and the authentic grit of an urban backdrop.
Shot entirely on location in Accra, the series showcases Fruché’s signature craftsmanship, blending cultural influences with modern silhouettes to create pieces that are both timeless and deeply rooted in African identity. The editorial invites viewers to interpret the tension between tradition and modernity, refinement and authenticity, while celebrating the vibrancy of African culture.
Mbonu’s work is distinguished by its ability to tell layered, evocative stories through powerful imagery. Each frame in "Echoes in Silk" is a testament to her skill in merging art, fashion, and culture, providing a fresh perspective on how spaces and designs interact to shape narratives.
Features;
Brand: Fruché (@fruche.official)
Models: Christina Keneth (@kyrs_ken) & Ruth Adwoa (@_iamadwoa)
Producer: @kvng_majesty
Danielle Mbonu continues to push the boundaries of visual storytelling, using her platform to amplify African artistry and culture. Her work reflects a deep respect for authenticity while embracing innovation, making her one of the most compelling voices in contemporary photography.
Submitted for publication in Deeds Magazine, this editorial is a celebration of African creativity and the transformative power of fashion.
With continuous requests to increase duration of the exhibition, gallery owner Akin Abiola extended the stay for Tales of Tales by artist Chinemerem ‘Eme’ Omeh at the Hope93 Gallery in central London on the 8th of January 2025.
Eme Omeh is a Nigerian-born artist who grew up in Atlanta and holds a fine and applied arts BA. The exhibition "Tales of Tales", explores themes surrounding childhood experiences, belonging, self-worth, family hood, societal expectations and authoritative figures.
Omeh struggled to read and write as a child and described himself as a “slow developer.” His artwork, “Parable of a Late Bloomer,” reflects those matters. Painting became his way of expressing what he wanted to communicate and delivering his inner monologues through various mediums involving “traditional forms”.
Earthy tone colours accompanied by hues of tangerine-orange, aqua-turquoise and fuschia-pink add another tier of excellence alongside his storytelling within the artwork. There is an element and touch between a Renaissance style with black figures being the centre focus.
Among the many other meaningful messages behind Omeh’s artwork is “Red Cloak of Mother’s Touch.” Within the details of the painting, red Nigerian head wraps are prominent and seen worn in the artwork. The same red wrap is worn by a man wrapped around his body. This highlights the growth, building, support, and strength our Mother's give that help shape you as a person.
Omeh intends to “…Not paint beautiful works, but to paint the truth.” Eme Omeh’s detailed layering encourages you to think, reflect, and pay close attention to the multiple gradations with subliminal messages.
For our first iteration of the year’s #ThroughMyLens content series, we spotlight Tunde Williams (@bytunde), a visionary photographer whose work is redefining storytelling in the modern creative space. From capturing raw emotion in vibrant colors to weaving his personal journey into every project, Tunde’s lens tells stories of resilience, triumph, and self-discovery.
Tunde’s latest project, produced in the heart of New York City, is one of his favorites to date. Set in a dark room illuminated by blue and red lights, it captures the essence of triumph as his subject shines through the shadows. “This project explores overcoming challenges, a theme I deeply resonate with,” he shares. “Obstacles are essential, they strengthen the mind and shape the art.”
The journey to this moment began years ago in Lagos, where Tunde first discovered his passion for photography. “When I was in Lagos, I asked my mom for a camera, and she got me one. I started shooting fashion shows at Eko Hotels and small brands,” he recalls. These experiences laid the foundation for his career, teaching him the art of visual storytelling. Being a visual learner only deepened his love for capturing moments, and his camera became the perfect tool to express his creativity.
Tunde’s creative process is instinctual and rooted in emotion. While he often starts with moodboards, his final vision comes to life in the moment. “The atmosphere of the studio, the music playing, the time of day—these elements influence my storytelling through color. If I’m feeling blue, you’ll see that reflected in my work,” he explains. His ability to trust his instincts and create in real-time has attracted clients who believe in his vision, allowing his work to remain dynamic and authentic.
Next up for Tunde is a deeply personal project that reflects on his 11-year journey of building a life in America. Told through five unique perspectives, this narrative explores themes of struggle, perseverance, and triumph. “It’s a story woven with pain, effort, and success,” he says. The project will culminate in an exhibition next year, and Tunde can’t wait for the world to experience it.
Through his lens, Tunde Williams continues to inspire, connect, and tell stories that resonate deeply with his audience. For him, photography is more than an art form, it’s a journey of self-expression, growth, and shared experiences.
Scumie, a dynamic force in South African hip-hop, began her journey as a producer for underground artists in 2019. Inspired by the storytelling essence of kwaito music and her own mental health journey, she transitioned into rapping, aiming to merge life's raw experiences with lyrical artistry.
For Scumie, evolution in music is about embracing change and mastering the art of letting go. Her EP African Rockstar reflects this playful yet introspective approach. While hip-hop's competitive edge can sometimes feel monotonous, she continues to find creative ways to balance traditional rap with innovation.
A bold advocate for independence, Scumie aspires to be a trailblazer for aspiring female artists, encouraging them to build their own empires rather than conforming to existing structures. She values authenticity, leading with her heart to inspire art that resonates with her fanbase.
Deeds: Can you tell us about your introduction to hip-hop? What inspired you to pursue this genre, especially as a South African female artist?
Scumie: My introduction into hip hop was being a producer, I used to produce for underground artists back in 2019. What inspired me to pursue this genre as an artist was my mental health, the ability to tell life experiences through raps was what inspired me.
Deeds: Growing up in South Africa, what artists or movements influenced your sound and style?
Scumie: Spikiri and Zola 7 are my inspirations, when i was 10 my mother gave me her ipod and it was filled with kwaito music, it's the storytelling and motivating lyrics in kwaito that captivated me.
Deeds: How has your music evolved since you first started?
The evolution is the change in composition. I've been mastering the art of letting go. I was having fun with African Rockstar. Due to the serious competitive nature in hip hop, I was getting bored. I kinda don't like to spit 16-32 bars of raps everyday, it's boring but i still like to do it just not all the time.
Deeds: What challenges have you faced as a female rapper in South Africa’s hip-hop scene, and how have you overcome them?
Scumie: I don't face challenges, I learn lessons. And the lesson I learnt in the SA hip hop scene is, observe, do it alone then help will come after.
Deeds: Female representation in South African hip-hop is growing. How do you see your role in shaping the culture and inspiring other women?
Scumie: I want to be SA’s female hiphop rapper turned mogul. I want to create a universe and adventures for my supporters. I want to show aspiring female artists that they can operate their own empires instead of trying to be part of an established one. It's okay to do it alone because help will come with the money.
Deeds: How do you balance authenticity with the pressure to conform to industry standards?
Scumie: I don't like to conform. I am grateful to have a fanbase that hates conformity. so I get to be and do whatever I want and people will still love it. Leading with heart ends up leading in the art.
Deeds: What’s your creative process like? Do you start with beats, lyrics, or a concept?
Scumie: I make the beat first, then I come up with the concept, then the lyrics tie the concept together.
Deeds: You’ve collaborated with several artists. Which collaborations have stood out for you, and why?
Scumie: Uncle Waffles and Usimamane. They are really two beautiful souls. They understand this music thing deeper than a random person on the street would. They are refreshing to work with.
Deeds: What’s your take on the current state of South African hip-hop? Are there specific trends or movements that excite you?
Scumie: The current state of sa hiphop is stable. There is a movement happening. its beautiful to see. The qwellers movement excites me the most, it's beautiful seeing friends finally live the life they’ve been striving for.
Deeds: How do you think South African hip-hop can gain more recognition globally?
Scumie: SA hiphop can gain global recognition by showcasing the south african culture. My manager always says that amapiano is the new hip hop for foreigners, because they are not used to the amapiano sound which can definitely take SA hip hop globally. it still raps just on a different beat.
Deeds: Outside of music, what inspires you?
Scumie: Outside music, life definitely inspires me. Life is really crazy man, anything and everything can happen. Good and Bad. Chilling in nature inspires me, partying inspires me as well as human conversations inspire me too.
Deeds: How do you stay grounded and creative amidst the demands of the industry?
Scumie: Staying grounded is just about trusting myself. I always trust myself. I trust my craft which helps me become humble. I don't need to prove anything. Even with all the money that’s there, being humble really goes a long way.
Deeds: How do you approach storytelling in your music, and what message do you hope your fans take away?
Scumie: Storytelling is talking about life experience and my fans find solace in the relatability from the music. Speaking, rapping and singing about current world events is enough for the listeners. There are many messages I put in my songs, it's just about how the listeners interpret it.
Deeds: Have you experienced gender-based challenges in the industry, and how do you address them in your music?
Scumie: The only gender based challenge I have faced in the SA hip hop industry is having to do more than my male counterparts in order for me to even be considered. Trust I have done more in a span of 4 years which takes males 10 years to finally achieve yet I still have to prove myself further.
Deeds: What advice would you give to young South African women looking to break into hip-hop?
Scumie: If you want to be a female rapper in SA, be unapologetic, be bold and do not let anyone take you for a fool, and be really strict with your time.
Deeds: How important is social media for connecting with your fans and promoting your music?
Scumie: Social media is very important for music promotion. Social media is the new news anchor and news paper. Everyone is catching up on social media. It can help an artist leverage their brand and music.
Deeds: Do you feel your online persona matches who you are as an artist?
Scumie: yes my online, artist and personal persona matches. I am very low-key and it shows on my social media if you look hard enough, as well as my art. I tend to hold back a lot of music, and my male counterparts hate that haha, they wish i was “out there” more.
Deeds: Are there any upcoming projects, albums, or singles fans should look out for?
Scumie: In 2025 I will be rolling out the third sequel of my debut album 066 VOL 3 from January.
Deeds: Where do you see Scumie in the next five years? What legacy do you want to leave in South African hip-hop?
Scumie: I see Scumie as a female hiphop artist to rap mogul. I want to show people that it’s lit to be an african rockstar.
Slipknot unleashed an unforgettable performance at the 02 Arena in London, UK leaving the crowd in awe of their signature blend of chaos and artistry. The band, celebrating their 25th anniversary, known for their theatrical stage presence and blistering sound, proved once again why they remain icons of the metal scene.
The concert kicked off with “People = Sh*t,” setting an electrifying tone that only intensified with hits like “Duality” and “Before I Forget.” The nine-piece band commanded the stage with their ferocious energy, fueled by Corey Taylor’s guttural vocals and the thunderous drumming of Jay Weinberg.
Fans were treated to a jaw-dropping spectacle, complete with pyro, eerie masks, and spine-tingling visuals. Mid-set, Taylor addressed the crowd, expressing gratitude for the unwavering support of the Slipknot family, sparking deafening cheers from the audience.
The night concluded with the anthem “Surfacing,” a perfect finale to a show that felt like a cathartic release for both the band and their fans. Slipknot’s relentless energy and raw passion reaffirmed their legendary status in metal.
If you missed this show, prepare for serious FOMO. Slipknot’s concerts are more than just live performances—they’re an immersive experience every metalhead should witness.
Odunsi (The Engine), born Bowofoluwa Olufisayo Odunsi on June 7, 1996, in Lagos, Nigeria, has been a pivotal figure in the evolution of the Nigerian alté music scene. His innovative fusion of Afrobeats, R&B, and hip hop has garnered both critical acclaim and a dedicated fanbase. Beyond his musical releases, Odunsi has been active in engaging with his audience through social media, sharing insights into his creative process and personal reflections.
This December, on the 20th, Odunsi added another milestone to his career by releasing the first deluxe version of his album, Leather Park, titled Leather Park 1.5. The already standout album, featuring hits like Nigerian Boyfriend, now boasts a second disc with three new tracks that further showcase Odunsi’s creative brilliance.
As the year draws to a close, Odunsi is set to reunite with his roots by headlining his show in Ikeja, Lagos, on Christmas eve, titled YOU ARE NOT ALONE. This performance is not just a homecoming but also a celebration of his journey and growth as an artist.
In this exclusive interview with Deeds Magazine, Odunsi reveals his experiences throughout 2024, discussing personal revelations, the intricacies of his creative process, and his aspirations for the future. His reflections offer a deeper understanding of the man behind the music and his unwavering dedication to his craft—striving to be the greatest to ever do it!
Deeds Magazine: How has 2024 been for you?
Odunsi (The Engine): It’s been very revealing.
Deeds Magazine: Mmm, in what sense?
Odunsi (The Engine): In the sense that I’ve spent more time actually rediscovering myself compared to any other time in my life, well, consciously.
Deeds Magazine: Is that through music or just personally?
Odunsi (The Engine): Yeah, man. The music is always personal, so everything.
Deeds Magazine: What would you say are the key things you’ve learned about yourself?
Odunsi (The Engine): Man, it’s extremely… I feel ashamed of being, like, popular, kind of.
Deeds Magazine: Being popular makes you anxious?
Odunsi (The Engine): No, I feel ashamed.
Deeds Magazine: Ashamed, why?
Odunsi (The Engine): Oh no.
Deeds Magazine: I mean, if you go back and listen to some songs, I think your publicity is very well deserved, if you ask me. And I don’t just mean the songs, I mean your rollout, just being an artist and branding as a whole.
Odunsi (The Engine): Yeah, it definitely has a shameful side to it, for sure.
Deeds Magazine: Can you go into detail about that?
Odunsi (The Engine): I’d love to, but I don’t even know if I have the understanding of it to do that.
Deeds Magazine: Mmm, something you’re still processing?
Odunsi (The Engine): Yeah.
Deeds Magazine: I saw on your Twitter earlier, you said by 2025, you’ll try liking people who like you. Can you tell us what that means? Beyond the surface value, I mean.
Odunsi (The Engine): You know, it’s more like advice.
Deeds Magazine: Advice for just your followers or…?
Odunsi (The Engine): Yeah, just anyone out there. I know that’s something people struggle with. We always like things that don’t like us or want things that don’t want us. It’s just human nature.
Deeds Magazine: Yeah, I think it has a lot to do with people’s upbringing or maybe just psychology. Why do we struggle with wanting what we don’t have?
Odunsi (The Engine): Exactly, because we already have what we need.
Deeds Magazine: That’s deep.
Odunsi (The Engine): It’s part of some of the taboos we really enjoy.
Deeds Magazine: Let’s go into the music. Odunsi (The Engine) has always been someone who creates music without following traditional boundaries, while staying connected to Nigerian roots. Like the 5% rule—if you want to come up with something innovative yet familiar, you just change 5% of a particular idea. How do you approach making music with that in mind?
Odunsi (The Engine): I don’t know if I analyze it that way. I like to imagine it’s the result of everything I’ve experienced. I’m a big fan of Nigerian music and music in general. I’ve listened to so much, and I have a very large pool of influences. Most people who grew up the way I did probably have a similar approach to making music.
Deeds Magazine: What kind of sounds and genres were you exposed to growing up?
Odunsi (The Engine): A lot, and at a really young age. I was lucky to have that kind of access.
Deeds Magazine: Who exposed you to that? Parents, siblings?
Odunsi (The Engine): My older brother.
Deeds Magazine: He’s was much older and had already digested a variety of music?
Odunsi (The Engine): Yeah.
Deeds Magazine: For many people, the first introduction to Odunsi (The Engine) was in secondary school, SS1 or SS2, with songs like Young Stuff. What challenges or triumphs have shaped your path as an artist in the industry?
Odunsi (The Engine): It wasn’t really a challenge or transition because it always felt the same. Music and media tell stories, and back then, the story was told through a collective lens. Now, it’s developed into different individual stories.
Deeds Magazine: Let’s talk about visuals and aesthetics. Your recent rollout for Nigerian Boyfriend included a birthday cake and office-themed visuals. How important is visual storytelling to you?
Odunsi (The Engine): It could be anything, honestly. I don’t have a rigid perspective. Sometimes I have the image first, sometimes the music. Both are equally important.
Deeds Magazine: Can you walk me through the creative direction for Nigerian Boyfriend? Was it the music or the visuals that came first?
Odunsi (The Engine): I just thought Nigerian Boyfriend was a cool name. I don’t know why no one had done it before. It just felt fun.
Deeds Magazine: Your upcoming show on Tuesday is in Ikeja. Why the Mainland?
Odunsi (The Engine): It’s my roots. It’s where I grew up, started making music, and met most of my close collaborators. It’s like bringing it back home.
Deeds Magazine: In some sense, it’s a homecoming?
Odunsi (The Engine): You could say that, but it’s not that dramatic. It’s more about reconnecting with fans and the music.
Deeds Magazine: You’ve been independent for a while now. What’s it like being an independent artist in today’s global Nigerian music scene?
Odunsi (The Engine): I’ve experienced both being with a major label and being independent. They both have their perks. It’s not about striving to be independent or signed; it’s about making great music and doing what works for you.
Deeds Magazine: After Rare, you mentioned wanting to be the greatest, whatever that means. Do you still feel that way?
Odunsi (The Engine): I’m still learning and improving. I want to be a better performer, songwriter, producer, and communicator. It’s a journey, and I’m patient with it.
Deeds Magazine: 2025 is around the corner. What should we expect from Odunsi next year?
Odunsi (The Engine): I’m not sure yet, but it’ll be interesting. 2024 set the tone, and I think 2025 will be the most accurate manifestation of my vision so far.
Deeds Magazine: As a fan, I can’t wait to see what you have for us next year. Performances, music, visuals… we’ll be watching.
Odunsi (The Engine): Thank you. It’ll be exciting.
Odunsi (The Engine) embodies a rare blend of vulnerability and creative fearlessness. From rediscovering himself in 2024 to creating music that pushed boundaries, he has proven that artistry is as much about self-reflection as it is about innovation. As he takes the stage on Christmas Eve for YOU ARE NOT ALONE, he invites us into a shared experience of music, performance arts, emotion, and connection—a fitting crescendo to a year marked by milestones. With Leather Park 1.5 breathing fresh life into an already dynamic catalog, Odunsi reaffirms his position as a vanguard of the Nigerian alté scene.
As he sets his sights on 2025, the journey promises to be nothing short of extraordinary. Odunsi’s unwavering dedication to his craft and his evolving vision leave us certain of one thing: this is still the beginning of a legacy redefining greatness.
It only seems like yesterday that 2024 had arrived. Yet, we’re on its final stretch, which brings us to the perfect opportunity to look back at its music landscape, and pick out the projects we believe stood out from the crowd and will set a mark for years to come. It has been without a doubt the year of innovation, reflection, pushing boundaries and coming back to one’s roots, while being unapologetically themselves. Whether it is Nigerian artist Rema finding inspiration in the original fast-rhythmic of Afrobeat or French duo Tayc and Dadju embarking in their own fresh and new interpretation of Rumba chords. With a lot of beloved artists announcing their retirement this year, there is an undeniable calling for a new era in music, which appears to be as diverse in sound and genre-bending as ever before. This carefully-crafted list is a merge of the Deeds’ team playlists and highlights what we rank as the the top 10 most influential albums that were released in 2024.
When Rema screamed on the stage of his homecoming concert; “You can take the boy out of Benin but not the Benin out of the boy!”, he wasn’t lying. Just as we thought he had reached his peak of stardom with ‘Calm Down’ featuring the American Pop-singer Selena Gomez, the Afrorave instigator returned to the Benin soil and took its deeply-rooted elements to create something refreshing and new. When listening to the album ‘HEIS’ released in July 2024, Rema’s mission is blatantly clear; and that is to officially claim the crown as the prince of Afrobeat, and 4th ranking in the big Three conversation, which includes Wizkid, Davido and Burna Boy respectively. The overall ambience is ecstatic, lyrics and vocals are raw and moobish, with an aesthetic and aura arguably taking a nudge from Playboi Carti’s recent playbook.
In terms of musical pairing in the last decade, there is no better French duo than Tayc and Dadju, which was proven in their collaborative album ‘Heritage’ that was released in February 2024. Never mind the first two singles ‘Makila: Wablé’ and ‘I Love You’ that had struck us by surprise, due to rumours of feuds between them via. Social media. They really set the tone for the year and their presence still resonates with us in December. Their album takes homage to their African origins of both Cameroon and Congo, whilst highlighting pivotals of each culture such as the importance of marriage, family and love. With special appearances of Gims, Singuila, Fally Ipupa, Tiakola and Samuel Eto’o; just to name a few, this project feels like a communal reunion. In recognition of the source to their music gene and overall success, the album presents itself as a foundation to the new French-Afro landscape.
If we’re talking about the UK music scene and emerging genres, then nothing comes as close as the rebirth of the 2010s Jerk/Swag era. However, it would be a mistake to simply categorize Lancey, Len and Fimiguerro’s first collaborative album ‘CONGLOMERATE’ released in November 2024 as such. Perhaps in a quest to solidify their dominance in music conversation for the past few years, the two new artists and mentor came together and gave us a project of a lifetime. In under just a month, they have completely taken over the limelight. With purposeful details running through the soundscape, everyone’s rap pen and even the clothing style, these boys set a whole new standard. And everyone is taking notes, from the East Coast of America to London city.
The Nigerian queen is here and she has brought all of her charm with her! Released in June 2024, ‘Born in the Wild’ is Tems’ debut studio album that, just like fine wine, is meant to age with time. From a first listen, it might seem as though the Lagos based singer is holding on to her guns, as she does it well. However, when one truly pays attention, then you would notice that those are songs that should accompany you as you walk through the journey of life and face obstacles, so to speak. Tems truly knows how to portray the complexity of love well and her record is as warm as the sun.
True to his Yoruba beginnings, Asake stunts the world with his third album ‘Lungu Boy’ released in August 2024. Contrary to what his singles ‘Active’ featuring Travis Scott and ‘Wave’ with Central Cee may give off, the overall album takes a surfaced-level look into the struggles of handling his current lifestyle coming from the ghetto/hood, or lungu in Yoruba language. In contrast to his previous projects, Asake definitely took a step down, using less of his interpretation of Amapiano drums, and focusing more on the content of his lyrics than providing dance anthems that we’re used to. Perhaps to shed light in his journey thus far, reflecting on the obstacles and overall feelings he’s working on. But even on some rainy days, Asake always knows how to bring back the sunshine and makes sure to deliver his signature sound in party songs.
Tyla, Tyla, Tyla… What is there not to like? Released in March 2024, self-titled debut album ‘TYLA+’ did her best impression of Amapiano and represented her South African roots well. Adored by many around the world, her sound is magnetic and at ease. Both easy on the eyes and ears, her songs are as catchy as simply-put, which would explain her quick rise to fame outside of the African continent. Anyone and everyone can fall in love with her music, as she focuses on reachability over relatability, nuance more than squeezing some depth and merit into the lyrics. It is a question of her own doing if she will choose to reveal more of herself in her next project.
Yseult’s journey in the music industry is like no other. And to be able to claim a very successful career as an independent artist is even more rare. Everything really took a turn for the best in her highly-experimental second album ‘Mental’ released in
September 2024, where she pushed for a genre-bending yet extremely vulnerable musical experience. It’s not everyday that a French artist may breach between the English and French-speaking set of audiences; however, Yseult does it all. This deeply-personal project is not far-off to the themes and dauntingness she is used to project in her past songs, but it gives off a different outlook. ‘Mental’ is truly a full-embodiment of everything that makes the starlet; an authentic and courageous artist not afraid to rise against the odds.
Announced as his final album as he ventures to retirement, Belgium's favourite rapper Damso places all of his cards on the table in the album ‘J’ai Menti’ released in November 2024. Like the title may imply, Damso treats this highly-personal project almost like a diary as he confesses to his moralless actions. Making use of a range of musical styles such as Afrobeat, French rap and more, he attempts to show a most genuine look into the layers of his flawed soul. This brings forth the subject of infidelity, love of money and glimpse of an existential crisis. As the final chapter, this album is a gift to his fans as the imperfect man behind the rapper is finally revealed in its truest form and best music yet.
Released in July 2024, ‘Being Poor is Expensive’ is Bashy’s one of many albums; however, one of his strongest yet to ever drop. The North-West London rapper takes us on a journey past his childhood, from the lens of everything delving around the subject of money. Vibing on clean beats, Bashy’s storytelling is immaculate, while making you bop your head as much as feeling intrigued to the build-up of each chapter in his life carefully displayed.
Perhaps a shocker to most, it goes without saying that Llona’s debut album ‘Homeless’ had one of the most cohesive bodies of work to come out this year. The project feels like Kano-State born artist’s symbolic mirror being reflected upon us and as a result, urges us to confront ourselves. Llona takes his time to unfold his greatest fears in life, while reminding us of his resilience and the heart of the lion he carries. He takes us in a ride of his difficult childhood, which makes mention of a broken home and promises. Finally, he decides to end his album with the virtue of forgiveness, as he recognizes his imperfections and traits he still has to work on.
Deeds: What inspired your latest project ?
Ife: It’s very abstract and surreal with a lot of symbolism ,drawing inspiration from punk, afro futurism and manga to capture a dreamlike or reimagined reality.
Deeds: How did you get into your creative field ?
Ife: I’ve been making art since I was kid, from primary school to university, it’s always been a part of me. During the covid pandemic,I started a drawing a lot more and exploring other creative projects . I’ve been doing that ever since.
Deeds: Can you describe your creative process?
It’s very chaotic, intuitive and emotional.My mind is constantly filled w ideas fuelled by a certain feeling or interest at that moment in time.I strive to evolve and change, so do my concepts and techniques.When an idea stands out from the others,I try to capture it in my unique style, and once I feel like it’s finished,I move on to the next.
I typically use ink, charcoal and graffiti as a medium, also like listening to music particularly rock, electronic and alternative indie ,it helps me get into the mood I want to portray in a work.
Deeds: Are there any projects in the works that you would like to share with us?
Ife: Yeah, I’m currently working on releasing a zine and a few paintings next year
Lagos is renowned for its vibrant nightlife, but when it comes to daytime parties, the options are few and far between. Enter Our Day Breeze, a groundbreaking event redefining the social scene by bringing Lagosians an unmissable day party experience. This is not just a party; it’s a movement breaking barriers and celebrating streetwear culture, music, and lifestyle all under the Lagos sun.
Set to take place on December 22, 2024, at the iconic Wings Towers, Victoria Island, this edition of Our Day Breeze is tagged IJGB Edition – a nod to returning Nigerians (IJGB Boys and Girls) who bring a fresh perspective to the festive season. The dress code? Streetwear/Streetstyle. So, expect to see Lagos’ trendsetters rocking their best fits and enjoying the daytime breeze with a stylish twist.
The party promises a dynamic mix of Afrobeats, Amapiano, and Drill, with DJ Crowd Kontroller headlining the event. It’s all about good vibes, great music, and a unique daytime setting that takes you from sunlight to sunset.
With sponsors like Pepsi, Buen Amigo, and Neft Vodka, attendees can look forward to premium experiences and refreshments throughout the day.
Our Day Breeze isn’t just another party; it’s a cultural moment. Whether you’re a Lagos local, an IJGB, or someone visiting for the holidays, this is the perfect opportunity to celebrate life, connect with like-minded individuals, and enjoy the beauty of Lagos during the day.
Tickets are available now on Vendy, Nairabox, and Afropass. Don’t wait – early arrival is advised as this event is set to be one for the books.
Visit @ourdaybreeze for more Information
The end of the year brings upon moments of reflection when thinking about the events within 12 months. Spotify Wrapped, Apple Replay and various other forms of looking back on the year highlight what a year it has been. For many, 2024 has been quite the year, certainly for our final cover star of the year, King Promise, who dropped this third album, True to Self, over the summer and has since been performing on stages worldwide. Now, with the release of its deluxe and the completion of the True to Self-tour, which has seen him quite literally continental all over the globe, there is no doubt that 2024 will have been a standout year in the books for him.
Of course, when asking him about this year and giving him a chance to reflect on what 2024 has been like for him, gratitude is what comes to mind he shares. "Looking back on this year, my biggest reflection is gratitude. I'm grateful for the support, for sharing my music with the world, and for everyone connected with these songs." The support and the way people have connected with his music have been prominent not just throughout this year but throughout the six-year career that has taken Gregory Bortey Promise Newman from Accra, Ghana, where he first started his musical journey, to the international 5-star status that he has accumulated throughout the years.
The start of True to Self came at the back of the COVID-19 pandemic where, for Promise, we had been through a lot, just like everybody else worldwide. At that time, he had a lot to say, and so began the process of what would amount to what he describes as his most open and honest album to date and being extra special compared to his previous works. The title 'True to Self' reflects his commitment to his musical roots and personal experiences. "It was right after COVID when I started making the album; everyone had gone through a lot, including myself. I had a lot to say, so I put it on the music". This led to one of his most significant viral moments, which came from the single 'Terminator', which dropped in 2023 and kicked off the whole journey towards the album. The track blew up internationally across social media platforms such as TikTok, YouTube, and Instagram, garnering millions of views with dance trends worldwide.
The expectation and reception of that song were not uncommon for Promise, who isn't a stranger to hit songs. Previous tracks like Sugarcane and Commando have gathered big numbers regarding streaming and are some of his biggest tracks to perform live wherever he goes. However, the most significant difference between those tracks and Terminator is the utilisation of social media, which for the album has given it a life beyond just streaming. King Promise's music, known for its catchy melodies and relatable lyrics, uniquely connects with listeners on a personal level. "I've dropped hits, several hits. For example, I dropped Commando, which is a big song of mine; however, at the time, there wasn't TikTok. Now there's TikTok, which is smashing it. Things will change; I haven't experienced levels before, but now I've experienced them due to Terminator and the dances. So, if I said I didn't expect it to do well, I'd be lying. But for it to do, what it has gone on to do is something I've never experienced."
The song itself was produced by KillBeatz, one of the many producers on the album and collaborators who worked to shape the sonic pallet of the project. As you listen through, you come through a variety of sounds; however, there's is a cohesiveness that runs through from top to bottom, this being something crafted by King Promise himself as well as his collaborators, who also include the likes of Guilty Beatz and, of course, JAE5 who have all been a part of the King Promise musical journey for some time now. As well as producers, he has several musical guests who bring something to the project. Gabzy, Shallipopi, FAVE, Fridayy, Ladipoe, Lasmid, Olivetheboy and Sarkodie bring their flare and sound to King Promise's vibe. The level of True to Self is a strong and more solidified body of work. He is never one not to be able to deliver quality across his projects, including his last two albums, 2019's As Promised and 2022's 5 Star. True to Self has continued to elevate where he is artistically and creatively in his career. He recognises that honesty and openness throughout this album have allowed him to reach deeper to get to this point. "I've always believed you make the most magic when you are as true to yourself. Very organic don't, like, overly calculated shit; I always say this. For this album, I was like, I'm going to bear it all: open vulnerability, trueness, just realness. Be the artist, brother, superstar, friend and son."
'Believe', the opening track on the album, sets the tone for the album and the words that are being spoken throughout the album. The words represent something as he explains his tattoo, with the exact words written across his arm. "It's the opening track on the album, but it's also my motto in life: I believe. This belief in myself has been a driving force in my journey as an artist, and I hope it can inspire others to believe in themselves as well." The song speaks to his artistic journey and talks of one's belief as such as been displayed throughout his career from his beginnings in Accra with his family and friends and how all you have to do is believe in yourself because it's the most important thing. His sense of belief and the evidence that has been clear from the beginning has always been a key part of his artistry. "Where I'm from, we're supposed to be somewhere else—most of the friends I grew up with never dreamt of days or times like this. We control the narrative; we represent the people. What we see and represent is what the people believe, and what we give off is what people want to do. My music is not just about me but my people, culture, and country. It's a way for me to share our stories, struggles, and triumphs with the world." His story is not abnormal and proves what happens when one's purpose is aligned. Coming from a regular family to take over the world and sell out tours across the world may seem like a crazy idea when you say it out loud; however, it returns to the sense of belief that he has sustained and been able to carry throughout his career.
With everything achieved in the six years, it is a surprise that music was never the path a young Gregory was meant to pursue. He says, "I didn't plan on being an artist; I followed my friends to the studio. I was supposed to be the footballer. They made music, and then one day, randomly, the headmaster heard me sing in my class and told me to go to the choir." The rest, as they say, is history, the timeline and trajectory of events since then. As he sees it, it is a calling that is meant for him and all a part of God's plan, which, as has been seen in the course of his career, is very accurate, and he holds the truth to what he says, "I believe I was born for this. This is God's plan; it was meant to happen this way, and I was meant to be in this position. All these things happen; just having the mentality of seeing where we're from and looking at where we are now makes me feel extra proud, and it's fulfilling knowing that we're doing this". The importance of representation is not something that falls lightly. Still, it is a responsibility that he has since accepted when speaking for his people, among the likes of DarkoVibes, Amaarae, JULS, Gyakie, Stonebwoy, Moily and Black Sherif,f to name a few who stand in their roots and represent the country of Ghana. This is apparent not only in his music but also in everything he stands for and represents. He acknowledges this regarding the responsibility it entails and what it all means. "As long as I'm making an impact that serves the people well, I'm controlling the narrative, changing the game, and making it beautiful. My music is not just about entertainment; it's about empowerment. It's about inspiring others to dream big, work hard, and believe in themselves. You could do it if I could, and I'm thankful for that."
As we speak about this time and this moment of his career, there is an intentionality that he moves with and everything that this moment represents for him. Bigger than himself, bigger than his career, nothing is done by accident. It's all steps and building blocks to keep elevating and growing, show the next generation of talent what is possible, and maintain authenticity beyond just doing what is expected. He says, "I'm very intentional about my work; I don't like calculated shit. When I say it's intentional, I want this as much as you see. It's not a joke for me. So it's intentional in the way that I keep thinking we need to up the levels, but we also have to make sure it's the most authentic, and it's not just people putting things together because that's what makes sense. I want my fans to trust that what they see and hear from me is always authentic." The album is a prime example of this; he has ensured that it has come out and come together the way it has. When speaking on this, a real sense of pride has come through in the quality and the work delivered from the project. "Even with this album, I've been very intentional about the sound. I made a lot of songs, and obviously, we took a lot out. We had meetings with the whole team and the label and went back and forth, agreeing to disagree. Eventually, we settled on something, and then we flew with it. We were intentional about what we wanted it to be and everything we wanted for the project." The results have been a strong testament to the collaborative effort by everybody involved, from the album to the show and everything present in this era of the King Promise journey.
The energy and vibe were very present on set with the TikTok dance choreography lessons, how the music captured the essence of King Promise, and how it made people feel when taking in the music. As we reflect on the year and this era, there is no double; the future also looks bright with what is coming on the horizon. I pose the question both personally and professionally. It's about going beyond the music and getting a chance to live. "When I think about what's coming next, I just want to let life live its course and do my thing. Really and truly, I'm happy I've given guys the music. Now I want to live, just being there for my friend and family, and just being Gregory and not just King Promise." For King Promise, it's just the beginning. "I'm excited to keep creating, connecting, and pushing my artistry to new places. There's so much more music to make and so many more stories to tell. The journey's just beginning.". And so, as we depart from this time, the deluxe of the album has just dropped, extending its lifespan further beyond Detty December and beyond, and we are very much looking forward to seeing where the continued journey continues to take him onwards and upwards.
Credits:
Creative Director: Massimiliano Giorgeschi @maxgiorgeschi & Zekaria Al-Bostani - @zek.snaps
Photographer: Massimiliano Giorgeschi @maxgiorgeschi
Producer: Seneo Mwamba @seneomwamba
Lighting: Alex José - @alexjose.photo
Lighting Assistant: Bella Bujosa-Armora
Mua/grooming: Dalila Bone @Dalila_mua
Stylist: Kiera Liberati @kieraliberati
Styling Assistant: Nnena Eagle
Jewellery: LKB @localkettlebrothersuk
Co-Director: Cherise Hewitt @dripeisha__
Creative Assistant: Whitney Sanni - @its.whit_
BTS Video: Derek Huynh @dxzfilms
Marketing Manager: Sophie Lee @eeleihops
PR: Always Protected Publicity @alwaysprotectedpublicity
Journalist: Seneo Mwamba @SeneoMwamba
Styling Credits
Look 1
Jacket DAILY PAPER
Vest The lobby
Jewellery KETTLE BOTHERS
Look 2
Hat DAILY PAPER
Jacket BOY LONDON
Trousers YENISA
Boots TIMBERLAND
Look 3
Full look SILPA
Trainers NIKE
Look 4
Full Look YYATOMIC
Watch KETTLE BROTHERS
Look 5
Full Look SILPA
Boots Doc MARTIN
On the 13th December, JD Sports and Sturdy have come together to uplift and encourage the UK youth through dynamic initiatives.
The two brands are collaborating to deliver the sturdy certified initiative, co-funded by JD sturdy studio in North London. The partnership is to honour and elevate the UK youth within the creative fields. JD Sturdy Studio will showcase dance, music production, content creation, business and finance mentorship.
Sturdy Off was inspired and founded by Jordan Green and James Toppin, in 2022. The development and story of Sturdy Off were helped by the passion for dance and their want to help young performers shine.
Gathering among the masses in Hackey to witness NAO's incredible talent as she returned to the stage was a night like no other. In the November cold, where the appeal to leave the comfort of one's home is at an all-time low, there was nothing more appealing than spending a night in a church witnessing NAO as she played to a sold-out show in a room filled with invigorating energy and a love that was so real for her.
The announcement came a month ago following the release of her comeback single, ‘Wildflowers,’ after a three-year absence following the release of her 2021 album, ‘And Then Life Was Beautiful.’ During that time, the songstress gave birth to her second child and experienced the changes that came with it.
Now, back in the musical space that has missed her vocal talent, her return has come with the announcement of her upcoming album Jupiter, which has already garnered two singles so far, “Wildflowers” and “Elevate.” Unsurprisingly, the NAO Intimate & Stripped Back show sold out within moments across the four cities she performed in. Saving her hometown of London for last, she gathered her fans in Round Chapel Church for a night filled with immaculate vibes, pulsing energy, and a reminder of her incredible talent.
She mesmerized the audience by opening the show from the church's balcony, surrounded by her fans. Her angelic rendition of ‘Another Lifetime’ set the tone for the evening. She then descended to the stage, strategically placed in the church's center, offering a 360-degree view of her performance.
NAO's performance was a testament to her unique sound and the incredible catalogue she has built since her 2015 EP, 'So Good.' Her voice, distinct and powerful, cut through the typical voices of the UK music scene. Her authenticity as an artist, always standing true to herself, was a quality her fans deeply appreciated, evident in the love they showed for her.
Songs like ‘Orbit’ ‘, If You Ever’ ‘Fool To Love’ ‘Complicated’ and ‘Antidote’ received the love and appreciation expected from fans as they never missed a note and kept going with her from start to finish. Other moments included her cover of D’Angelo’s Untitled (How Does it Feel) and the finishing track ‘Drive and Disconnect.’ And, of course, there were definitely more hits left off the set list.
Speaking to the crowd, she spoke of her five-year absence from music, how, in that time, she had been embracing her new journey of motherhood, and how these shows were a nervous experience for her. However, as a keen NAO fan, one will always know that no matter how long the absence may be, we shall always be here and ready, and that was never truer and more evident than in that church.
As we eagerly await the next chapter of NAO's musical journey, we can't help but feel excited for what she will bring in 2025.
We had the opportunity to head to Skepta’s first Mains pop-up store in London. With the recent success of his second collection shown at London Fashion Week - brought the classical element of the ‘back to school theme’, where the runway presented unique pieces, as well as high attention to detail in the collection.
Available to cop the first release that has been worn by the likes of Central Cee via GQ man of the year cover, to other co-signed figures, it was a spectacle of an experience that truly enhanced your ‘childhood memories’ into action.
What was fascinating was how he conceptualised the interior of the store into an 80/90’s style themed bedroom look. Having a Nintendo 64 on display, with a bed set that had Mains duvet imprints, to the time-honoured signs of the brand - it truly was magnificent to see a set designed masterpiece in a pop-up store.
This vibe perfectly reminded me when the mandem used to invite each other down to their houses, having good times playing on the PlayStation 1, Nintendo 64 after school/weekends. The fervor of these past emotions were priceless during those days.
The ambassador, the main man and the icon of grime’s pioneers; Skepta’s transition has truly blossomed influence of the highest maintenance; displaying his Alpha Omega stance as a super-minded creative.
The first collection is still available to be purchased via the Mains website.
The Abloh Invitational 2024 took place in Miami, on the 7th of December, hosted and collaborated by Travis Scott. Alongside Cactus Jack founder co-hosting the event, professional skaters including Ishod Wair, Zion Wright and Robert Neal showcased their skills and participation in the joint skating competition event.
Virgil Abloh’s love for design and creativity was evident in his craftsmanship and attention to detail in his artistry. Architecture hosting an event where different worlds of subcultures and creativity can coexist is something that would have been important to the late Virgil Abloh.
The event was not only an opportunity to learn but also about the importance of brotherhood, the youth, and how creative activities bring people closer together and build communities.
The skate-fused workshop event offered screen printing workshops highlighting the graphic tee crossover with skating and the love for graphics Virgil Abloh had. The elements of interactive installation, such as the skateboard ramp designed by Supreme and Cactus Jack. The ramp installed represented Abloh’s love for intermixing collaborative creative themes.
6 December, 2024 - LONDON: Skepta’s MAINS returns for its first drop of the Season 2 collection, unveiling a new era of elevated streetwear and luxury essentials. Following its runway debut atLondon Fashion Week, select pieces from the collection will be available to buy at the MAINS pop-up store in London, offering fans the first chance to shop the latest designs in person.
MAINS shot the collection in the streets of Lagos, with Skepta street casting in his hometown. The campaign captures the heart of MAINS' ethos - connecting global cultures through fashion.
Season 2 introduces a fresh lineup of unisex pieces, from refined outerwear to signature track sets.
The MAINS Season 2 pop-up store opens Friday 6 December - Monday 9 December.Prices from £28-£450.
MAINS, 49-51 Rathbone Street, London, W1T 1NW
www.mainslondon.com @mainslondon
ABOUT SKEPTA
One of the most important influences in the global rap scene, multi award-winning artist Skepta has established himself asa multifaceted force, leaving an indelible mark on the worlds of business, film, fashion, and music. Through his journey, hehas not only defined the sound of a generation but also become one of the most influential figures in contemporary music.Skepta's early recordings established him as a force to be reckoned with, and his albums earned him acclaim, including theMercury Prize, becoming defining moments in British rap. As he continues to evolve, Skepta remains an emblematic figure,embodying the fusion of artistic expression, entrepreneurship, and cultural impact in the 21st century.In recognition of hisimpact, Skepta was honored with the Visionary Award at the 2024 Ivors. His current project, Mas Tiempo, founded withJammer, embodies his exploration of electronic music.Beyond music, Skepta is the founder of Big Smoke Corporation,which houses creative endeavors. His impact extends into fashion where he has collaborated with brands such as Pumaand Burberry, plus launched his own brand, MAINS, blending his Nigerian and British influences into a distinctive identity.His debut film, ‘Tribal Mark,’ was released through his own production company, 1PLUS1 Production.
ABOUT MAINS
MAINS is the fashion venture of British-Nigerian rapper, producer and filmmaker, Skepta. After initially launching in 2017,the brand took a brief hiatus before making a powerful return at London Fashion Week in September 2023. Growing up inTottenham, Skepta began creating his own garments from a young age. As he rose to the forefront of the Grime scene hisdistinctive style - what he calls “hood luxury” - became a beloved extension of his artistry. Now imbued throughout MAINS,Skepta’s hands-on approach to design brings an authentic, raw creativity to every piece. Personal touches, from Skepta’sown illustrations on denim jackets to intricate hand-embroidered logos, each tell a story that connects to his cultural andmusical background, from grime and punk, to Tottenham and Nigeria. The latest collection brings a fresh spin to the ‘IvyLeague’ look while staying true to the brand’s roots in luxury sportswear. Building on the foundation of their inauguralcollection, this new offering continues to feature their signature technical tracksuits, knitwear, tailored pieces, crochetdesigns, and outerwear silhouettes, whilst paying homage to his lifelong collaborators. For Skepta, MAINS is an expressionof identity, inspired by his father’s philosophy: “Clothes don’t make the man, the man makes the clothes.” Grounded inquality, creativity, and cultural significance, MAINS is sowing the seeds for a 100 year-plus legacy.
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