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In our recent interview with Micle, the rising Afrobeats star behind the breakout hit "Ave Maria," he described the surreal feeling of debuting at #50 on the Billboard U.S. Afrobeats Songs Chart. Micle opened up about the unexpected inspiration for the track, born from a neighbor's ringtone, and how he crafted its unique blend of soulful melodies and infectious Afrobeats rhythms.
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.
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.
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
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.
When the undisputed star of Afrobeats chooses to open his heart, the world can't help but listen. Wizkid's sixth studio album, 'Morayo', is more than just a collection of songs—it's an intimate tribute to his late mother, Jane Balogun. This album is more than just music—it's a heartfelt tribute wrapped in beats and melodies that only Wizkid can deliver. Expectations for this album? Astronomical. But Wizkid isn't new to this; he's true to this, and he delivers.
After months of teasing and anticipation, 'Morayo' lands and Big Wiz takes us on a journey that's both personal and universally relatable, blending grief with grooves that make you move.
Here are my top 10 tracks that define this remarkable album:
Troubled Mind
The album kicks off with "Troubled Mind," arguably Wizkid's most profound intro yet. It starts with an eulogy from Fuji legend K1 De Ultimate, honoring Wizkid and acknowledging his loss. As the beat drops, you can literally hear the pain in Wizkid's voice when he sings, "Yeah, one shot for mama / yeah, I miss you." P2J's exquisite production sets the tone, making this a powerful opening that grips the listener from the outset.
Kese
If you're looking for a certified gbedu, "Kese" is it. This track is an instant club anthem, with Wizkid's impeccable flow and energy driving it home. He confidently declares, "Cause anything I drop, them go chop Aje" reminding us why he's the king of making people move. With Kese, you would definitely gbese!
Bad Girl (feat. Asake)
When Big Wiz and Mr. Money link up, you already know what’s up. Following their earlier chart-topping collaboration "MMS," "Bad Girl" continues the momentum. "Bad Girl" is a banger tailored for the girlies. Wizkid's poetic flair shines with lines like "This kele na my kind meat," Afropoetry, and the synergy with Asake is undeniable. It's the kind of track that tears up dance floors and keeps the vibes on 100. La-do-mi-re-mi-re-do.
Time
"Time" brings back the smooth, laid-back R&B vibes reminiscent of Wizkid's Made in Lagos era. Over mellow beats masterfully produced by P2J, Wizkid serenades with a simplicity that's profoundly effective. This is Wizkid in his element, cruising effortlessly and reminding listeners of his ability to convey deep emotion with subtlety.
Break Me Down
Still in R&B territory, "Break Me Down" showcases Wizkid's versatility. His flow is silky, the melody captivating, and the lyrics explore vulnerability. It's a classic R&B vibe that highlights his ability to transcend genres while keeping his signature touch intact.
Bend
"Bend" is all about fun and vibes. An instant club anthem for the ladies, this song is catchy with its repetitive hook that just sticks. While it might not break new ground, it's undeniably a feel-good track that gets the party started.
A Million Blessings
Here, a more introspective side of Wizkid emerges. "A Million Blessings" sees him reflecting on his journey, expressing gratitude for his successes and the lessons learned. He doesn't shy away from acknowledging his blessings—"Blessings dey fall like water for my head"—and uses the opportunity to address his competition: "The competition, omo, where you dey? I stand plaster every day." It's a subtle assertion that while he may be laid-back, he's always ready to define and defend his legacy.
Après Minuit (feat. Tiakola)
Crossing international borders, "Après Minuit" is a gem. Featuring French artist Tiakola, this track is sensual, romantic, and poetic. Wizkid effortlessly blends English and French, showcasing his global appeal. It's smooth and captivating—a standout on the album.
Slow (feat. Anaïs Cardot)
Arguably the best song on the album, "Slow" features the enchanting vocals of Anaïs Cardot. Wizkid muses, "We no fit pay for time while we come dey rush," encapsulating his ethos of living life at his own pace. It's a lo-fi sweet treat that sees Wizkid asserting dominance with his vocals.
Pray
"Pray" is the perfect bookend to the album. Wizkid reflects on his journey and his mother's influence, singing, "I know my mama pray for me, and I know the heavens dey for me." This moment of vulnerability is brief but powerful, reminding us that beneath the superstar persona lies a son who recently lost his mother.
Final Thoughts
On 'Morayo', Wizkid stays true to himself—choosing celebration over sorrow, vibes over melancholy. Unlike its predecessor More Love, Less Ego, we see a more energetic Wizkid on this album and a bit more diversity with different sounds. He's the maestro, cruising comfortably across genres and reaffirming his position at the forefront of Afrobeats.
This album arrives at a pivotal moment, contributing to the Afrobeats reset that has been unfolding, especially following Rema's release of HEIS earlier this year. "Morayo" captures the essence of dancing through pain, blending heartache with harmony, and ultimately celebrating life amidst loss.
Rating: 4/5
London born and bred music producer takes New York City and shares his plans for the near future
It is not everyday that one finds themselves in Brooklyn on a fine Wednesday afternoon. Even less in the area where one can hear a biker playing Taylor Swift while passing by and groups of determined runners take turns to disappear and reappear from all directions. So when the opportunity presents itself and Young Songs’ first publishing signee and A&R Kwes Darko invites you for a conversation at a studio location where the outside streets are as clean as Christmas Eve, you do not hesitate.
Although you could trace Kwes’ journey back as early as 2009 with his most known EP series ‘Blue Daisy’, and when he was still mainly operating as the front runner; nowadays, the Camden music composer and producer prefers to work in the background. Needless to say, his impact does not come unnoticed at all, even in the shadows of somebody else. And the sector of artist development he has mastered played a vital role in shaping the UK music scene (& beyond) of modern age. From the likes of Northampton born rapper Slowtai, Zambian singer Sampa the Great, Coventry’s finest Pa Salieu and now John Glacier, Kwes truly knows no boundaries. With a carefully-curated selection of production and a variety of sound that stretches as wide as the Nile, it does bring one to ponder; how does Kwes Darko tick? And what are his motives behind every move? Without question, Kwesi is one of the few producers that urges you not only to listen to the music but also, feel it.
As I make my way to the reception of the building, I let Kwesi know that I have arrived. It didn't take him long to direct me to the fifth floor while reassuring me that he would be waiting at the elevator’ doors. Perhaps out of shock, it takes me a minute to recognize the man standing in front of me; however it’s the black 110s (Air Max 95 in UK slang) that gives his identity away, a London classic trainers that never gets old in the hearts of those who’ve grown in them. His overall look is much more subtle and a far cry from the days of huge black shades and dreads styled in the form of a vertical cross. As we pass through wooden halls, Kwes explains a little bit about the reason for his stay in the vibrant city of New York. We are met by Kwes’ friend and worker at this studio office who welcomes me in with open arms. Finally, we end up in the studio to our left which at first glance, might seem too bright for a recording room. Instruments and production equipment are pressed against each corner of the studio’s walls, while a satin-like sofa next to the entrance faces the music of it all. I choose to sit on the sofa while Kwes makes himself comfortable on a desk chair close by.
“There is a new energy here.”
Although New York may not be his home, or his second home at best, it is one of the cities that Kwes Darko has been thoroughly visiting since 2019 and makes him feel this spark he describes, that perhaps even he does not fully understand yet. From its large creative community to the never-ending subgenres that roam in the thick of it, New York truly is a city of endless opportunities. “There is a new energy here,” are the words Kwes chooses to start his sentence with when asked what brings him to the opposite side of the Atlantic ocean. “For a while, I’ve been looking for that new challenge,” he proceeds to explain his side of the story. You see, Kwesi is not unfamiliar to displacement and one may say that a nomadic lifestyle is ingrained in him. From an early age, the music producer went from the humbling years of Ghana to the white-dominant London zone of Camden. Not everything was bad though, as he got to witness Camden's golden age where one could still see the late Amy Whinehouse just walking by or Chris Martin “right across the street,” he remembers. Like that energy that once used to pull him to the grounds of London has now transpired to the city that never sleeps; New York.
Kwes Darko lays it down clear that he is far from a newcomer in the East Coast scene. Like the music lover and A&R he is, nothing doesn’t make it to his ears and while he is gliding his way through New York’s music landscape, so is his interest and curiosity. On his radar is none other than AJRadico who certainly is making some exceptional noise in the NY rap world. Kwes also makes mention of Ishmael (or Ishmael Raps), a talented fashionable entity from Rochester who has dedicated himself to his craft for almost a decade. A few others appear to have set a mark in his roster as well such as Selah Marley that he’s been introduced to, Surf Gang, MIKE and a fair amount more. “Similarly to London, New York has the soil that every few years, it breeds something exciting,” is the mood he decides to end his list on. When Kwesi said he is a diamond digger, it surely isn’t an over-exaggeration, showing praise to the Harlem-Senegalese rapper Joe West who has since polished his unique sound to the point it is hard to ignore.
In a time where the UK music scene is as active and diverse as ever before, it is hard to believe that Kwes Darko wouldn’t be tapped in with its up and coming and exciting acts building up their core audience such as the likes of Jim Legxacy. To which he gladly responds: “It is all about divine timing” and giving us hope that the link up between them two is only a question of time. To be fair, Kwesi is not here to ride a wave, his mission is to develop artists. “No shade on the London scene but, when I’m in my own world, my blink is on,” referring to his prodigy John Glacier and their newest release ‘Found’. Something that Kwesi has demonstrated over and over again throughout his career; when he chooses to work with an artist, is to create a world in which both can grow from, and not just a few credits on selected songs. This organic get-together is one of the tools that makes him stand out from the crowd and which explains why his touch on artists such as Obongjayar is curated rather than saturated. From the tone and demeanour towards acts such as Bxks and Chy Cartier, it becomes clear that Kwesi has found comfort as a supporter rather than a collaborator to London’s rising community.
Speaking of comfort, this brings us to the reason for his biggest move yet; transitioning from London to New York. “Comfort is a crippling thing,” he admits while setting out his realisation. “Of course, mastering your craft is important but, in order to better your craft, you need to face challenges,” he adds for more clarity. For many decades, there has been the argument whether the UK holds a glass ceiling to how far one can go and the furthest one can achieve. This is why when you see successful artists such as Skepta, Lancey and now Central Cee catering more and more to an American audience, it does beg the question if there is only so much one can do due to the system in place only allowing UK artists to dream to a certain extent. This is a similar sentiment Kwesi seems to share, recounting artists who’ve reached the top and then, in retrospect, lost the spark that had made them in the first place.
Kwes Darko sees himself as the bridge from the booming scene of London to the Eastern coast of North America. Much like the late Quincy Jones who spent a large amount of his time exploring Western Europe to learn and gain inspiration for its distinctive music origin and its even more distinctive artisans, so is Kwesi on a quest not only to exchange with New Yorkers but grow with them, in hopes it will birth a new nation, so to speak. “I think it is key for us artists to travel through the storm,” he acknowledges with pure lights in his eyes. It is undeniable that adventure flows in Kwesi’s veins, and what better city to test your muscles than New York. And so, his ever-changing journey has brought him to this new chapter in life where he hopes to bring all of his expertise thus far to the East Coast and shift the paradigm as he is known to do very well. We, Deeds Magazine wish him nothing but the best on the start of a new era; Kwes Darko’s global take over.
Jaz Karis, the captivating R&B singer from South London, has returned with Safe Flight, an album that beautifully captures the complexities of love, nostalgia, and self-discovery. Known for her soulful voice and ability to tap into universal emotions, the artist behind Into the Wilderness brings us a deeply personal and relatable project. With themes reflecting her “quarter-life crisis,” the 27-year-old singer-songwriter opens up about her journey of balancing family, friendships, and the pull between two cities—London and Los Angeles.
Welcome to the Diary of a romanticise …
For Jaz, Safe Flight is more than just an album—it explores love in all its forms. “Love is a big influence,” she shares, “but it’s not just romantic love; it’s also about family, friendships, and even the love you feel when you’re travelling and missing people.” From start to finish, love and nostalgia are woven into the album’s core, offering listeners a heartfelt and multi-layered experience.
One of the record’s standout tracks, “Sunset Blvd,” captures the artist’s romantic side and has resonated deeply with fans. Written during her time between London and LA, Jaz describes it as a “lover girl” anthem that embodies the thrill and safety of new love. “It’s about that beautiful beginning stage,” she explains, “when everything feels safe and exciting.” Jaz likens the experience to cruising down LA’s iconic Sunset Boulevard, with feelings of love and possibility filling the air.
In many ways, Safe Flight mirrors the vocalist’s own journey through what she calls a “quarter-life crisis.” At 27, Jaz finds herself navigating the pressures of adulthood—a theme familiar to many listeners of her generation. “There’s this strange rush to achieve, make money, and build a status,” she says. “But where’s the guidebook for all of that?” Safe Flight captures her reflections on these challenges, creating an authentic narrative that resonates across generations.
Splitting her time between London and LA has broadened her sound and identity, adding new layers to her artistry while keeping her grounded. Though she’ll always consider London her home, the songstress admits that LA has a certain pull. “I’m always going to be a South London girl,” she says with pride, adding that LA’s unique energy has grown on her. “LA has this fresh vibe; everyone’s willing to try new things. It’s different from London’s vibe, but I’ve found people and places that make it feel like home.” Her time in LA has influenced the album, bridging her roots with her new experiences abroad.
Adjusting to life in America hasn’t been without its quirks, however. Jaz’s friend and collaborator Phabo—known for Soulquaris and his contributions to Kehlani’s discography—often teases her about her search for British staples in LA, particularly baked beans. “America just doesn’t do baked beans the way we do—they add sugar to everything!” she laughs. Her solution? She stocks Heinz beans whenever she is back in London and always carries tea bags on her travels. “Some things are non-negotiable,” she jokes, “especially my tea!”
Culture and heritage are also constants in the singer’s music. Coming from a mixed background, the 27-year-old has embraced the various sounds and influences that shape her style. Working with producers like Juls, who brings Afro-fusion vibes to the mix, has allowed her to explore her roots in a way that feels personal and authentic. “The more comfortable I’ve become with myself, the more I’ve been able to blend my cultural influences with my sound,” she reflects. Safe Flight represents a new chapter in her journey, where her heritage and personal growth meet in beautiful harmony.
Her sound isn’t the only thing evolving. Recently, the R&B artist’s spiritual journey has deepened, adding another layer of meaning to her music. “I feel so much closer to God through everything I’m doing,” she says. While she’s still figuring things out, she hopes her music carries a message of love—a message she’s refining as she grows. This spiritual path is a vital part of her artistry, one she looks forward to exploring in future projects.
Reflecting on advice that has shaped her career, Jaz cites something simple yet powerful: “Don’t take things personally.” This perspective has been invaluable in both her professional and personal life, helping her focus on her goals without being weighed down by outside opinions. It’s advice that underpins her resilience in an industry that often demands grace under pressure.
For her parting message to fans, the singer leaves them with words to live by: “Just love and let go.” To the songstress, this motto is a reminder to approach life with an open heart and to trust in the journey.
With Safe Flight, Jaz Karis has crafted an album that speaks to the heart of a generation. Her honesty, her connection to her roots, and her commitment to growth come together to create a sound that is unmistakably hers. Through this latest release, she invites listeners to embrace love, nostalgia, and the beautiful complexity of finding oneself along the way.
CREDITS
Creative Director & Photographer: Radhika Muthanna @radhika.photos
Radhika Muthanna - @radhika.photos
Photography Assistant: Izzy Jennings - @capturedby.izzy
Producer & Creative Director: Seneo Mwamba - @seneomwamba
Project Manager: Zekaria Al-Bostani - @zek.snaps
Stylist: Palesa Dlamini - @masentle
Styling Assistant: Elise Wayne - @itselisewayne
Lighting: Alex José - @alexjose.photo
Movement director: Anaïs Watson - @anaiswatson
Makeup Artist: Zakiyah Shani - @zakiyahshani
Hairstylist: Esther Elkana - @estheticshair
Creative Assistant: Whitney Sanni - @its.whit_
Art director & Backdrop artist: Shania-Mae Wright - @shaniam00
Design: @Deeds.Studio (@dianeadanna& @ShalemAlone)
BTS: Johnny Cooke - @Johnny__cooke
Journalist: Thandie Sibanda - @thanddd
PR: Jaisha Thomas-Hinds - @Jaish_
PERFORMING HIS ICONIC DEBUT LP ILLMATIC IN ITS ENTIRET TAKING PLACE OCTOBER & NOVEMBER 2024
Friday 19th April, London: Released 30 years ago to this day by a then 20-year-old Nas, Illmatic is widely regarded as one of the greatest and most influential hip hop albums of all time. In celebration of the record’s 30th anniversary, the Queensbridge legend will tour Europe and the UK throughout October and November 2024 with shows starting in Finland and finishing in London. The fifteen-date tour will see Nas performing his iconic debut LP Illmatic in full. Tickets are on sale at 10am on Thursday 25th April from AEGPRESENTS.CO.UK.
Illmatic is not only one of hip hop’s best albums, but one of the greatest records across any genre. Every bar from Nas is personal, purposeful, and loaded, painting a vivid picture of what it meant to grow up in New York in the 90’s. Every sample-laden beat is distinctive and razor-sharp in its execution, coming from a dream team of production talent in DJ Premier, Large Professor, Q-Tip, Pete Rock and L.E.S.
The RIAA platinum LP features modern-day classics including “N.Y State of Mind”, ‘Halftime, “The World Is Yours” and “It Ain’t Hard to Tell”. 30 years later, Illmatic remains the benchmark for how great rap can be.
The Illmatic 30 Year Anniversary Tour will start in the UK on 10th November at Manchester’s O2 Victoria Warehouse, followed by 11th November at Edinburgh’s Usher Hall, Wolverhampton’s Civic Hall, before concluding at the iconic Royal Albert Hall in London on 15th November.
Nas also commemorated the 30th anniversary of Illmatic with the release of a new track, “Define My Name,” produced by DJ Premier - who produced a handful of tracks on the timeless classic (“N.Y. State of Mind,” “Represent,” “Memory Lane (Sittin’ in da Park)”). “Define My Name” is now available via Mass Appeal - listen HERE.
Register now for the Illmatic 30 Year Anniversary Tour presale at aegpresents.co.uk/nas-presale/ which starts on Tuesday 23rd April at 10am. General on sale is available from Thursday 25th April at 10am from AEGPRESENTS.CO.UK .
In an enlightening interview with Deeds magazine, Saudi Arabian R&B sensation Hamza Hawsawi opens up about his groundbreaking journey from Middle Eastern music enthusiast to international soul artist. The X Factor Arabia winner reveals how western artists like Michael Jackson, Boyz II Men, and Babyface shaped his distinctive sound while navigating the complex landscape of creating contemporary R&B music in Saudi Arabia.
Early influenced by vocal powerhouses Joe Thomas and Kevon Edmonds, Hamza Hawsawi's musical evolution represents a fascinating fusion of western soul music with Middle Eastern sensibilities. Despite initial challenges of being a non-Arabic language performer in the Saudi music industry, his persistence and authenticity eventually led to breakthrough success on X Factor Arabia, marking a pivotal moment in his career trajectory.
As Saudi Arabia undergoes significant cultural transformation, Hamza Hawsawi stands at the forefront of the kingdom's evolving music scene. He acknowledges his role in paving the way for emerging Saudi artists in alternative genres, while carefully balancing traditional cultural values with R&B's contemporary expression. Looking ahead, the artist teases ambitious plans for monthly releases throughout 2024-2025, featuring collaborations with local, regional, and international artists.
Deeds: Hamza Hawsawi, as a Saudi-born artist, how did your journey into R&B music begin? What inspired you to pursue a genre that is not traditionally associated with the region?
Hamza Hawsawi: My journey into R&B and soul music started in my childhood. I was fortunate to grow up surrounded by various types of music. I listened to Arabic styles as well as artists like Michael Jackson and Prince, which opened my eyes to new sounds. However, it was when I heard Boyz II Men, Babyface, Kevon Edmonds, and Joe that I truly connected with R&B. Their music gave me a feeling I had never experienced before, and from that moment on, R&B became my favorite genre. It was a natural choice for me when I began singing and making music.
Deeds: Who were some of the major R&B artists that influenced your sound? How do you blend your Saudi heritage with the soulful elements of R&B?
Hamza Hawsawi: I was first captivated by vocal harmonies when listening to Boyz II Men. Hearing Joe Thomas' "I Wanna Know" showed me the true power of the voice as an instrument. Babyface’s songwriting taught me the importance of the pen and emotional expression. My goal has always been to create R&B music in the way I grew up loving it, while incorporating my own stories, experiences, and reflections. I’ve experimented with various sounds and genres, blending Arabic elements and local instruments to create something unique. But when it comes to R&B, I stay true to the style I fell in love with.
Deeds: What challenges did you face breaking into the international music scene as an R&B singer from Saudi Arabia? Were there any cultural or societal barriers you had to overcome?
Hamza Hawsawi: One of the first challenges I faced was being a Saudi artist singing in a language other than Arabic, especially when traditional Arabic music was getting all the attention. When I started making R&B, I felt like I was in a vacuum. Looking back, this was a great position because it allowed me to develop my sound without outside pressure. Over time, I connected with other artists and music lovers with similar tastes, and things began to take off. Live performances were also challenging, as there wasn't much demand for Saudi R&B performers, but that period of obscurity helped me hone my craft until the right moment arrived.
Deeds: Winning X Factor Arabia was a major turning point for you. How did that experience shape your career, and what impact did it have on your music?
Hamza Hawsawi: After years of working in the shadows, X Factor was the culmination of my hard work. When I joined the show, my primary goal wasn’t to win, but to gain more experience and refine my craft. I didn’t expect an R&B artist like me to win a show in the Middle East, where most contestants performed in Arabic. However, I brought my best to the stage, and fortunately, I was able to win. That experience boosted my confidence and opened many doors for me as an artist.
Deeds: The Saudi music scene has seen significant changes over the last decade. How do you see the R&B genre growing in Saudi Arabia? Do you feel a responsibility to pave the way for other Saudi artists in this space?
Hamza Hawsawi: I definitely feel responsible for solidifying the presence of R&B in the region, alongside many other talented soul and R&B artists. With the increasing focus on music in Saudi Arabia today, more artists are pursuing their passions, including alternative genres like R&B. This shift creates massive opportunities for collaboration and growth in the local music scene. I believe the future will showcase R&B in Saudi Arabia the way it deserves to be seen.
Deeds: You’ve collaborated with various international artists. How have these collaborations influenced your music, and can you share any details about upcoming projects or new music releases?
Hamza Hawsawi: Collaborating with different artists, producers, and songwriters is one of my favorite ways to create music. It allows me to learn from others and approach my own work with fresh perspectives. Each collaboration teaches me something new about songwriting and performance. Looking ahead, I plan to release new music monthly throughout 2024 and 2025, and I’m excited about upcoming collaborations with local, regional, and international artists.
Deeds: Saudi Arabia is known for its rich culture and traditions. How do you balance these cultural influences with the modern and sometimes provocative nature of R&B?
Hamza Hawsawi: Being mindful of Saudi Arabia's generally conservative culture is important to me. While R&B can be provocative in its vulnerability and expression, I always try to respect our traditions when writing music. However, there are times when I allow myself to fully embrace the genre without limitations, especially when a song speaks to something deeply personal. It’s about finding the balance between staying true to the genre and honoring my roots.
Deeds: How does it feel to perform your music for audiences outside Saudi Arabia? Have you noticed any differences in how your music is received internationally compared to at home?
Hamza Hawsawi: Every audience and stage is unique, which is one of the beauties of performing. I’ve noticed that in Saudi Arabia, the feedback I receive tends to focus on the overall experience of the performance, while international audiences often zero in on the details—such as the lyrics, vocal expression, and instrumentation. Both types of feedback are valuable and provide insight into how different cultures experience art.
Deeds: Music is often seen as a tool for social change. Do you think your success and that of other Saudi artists can influence cultural perceptions in the country, especially regarding the role of music and creativity?
Hamza Hawsawi: I believe this shift is already happening. Artists of all styles are being given opportunities to showcase their work, and this is having a big impact on our confidence as individuals and as a community. The establishment of music institutes, the integration of music into schools, the increase in festivals, and the rise of local record labels—all these factors point to a growing recognition of music’s influence in Saudi Arabia.
Deeds: What advice would you give to young Saudi artists trying to break into the global music industry? What key lessons have you learned in your journey?
Hamza Hawsawi: First, it’s important to remember that as artists, we are constantly evolving, and our personal growth goes hand in hand with our artistic journey. This is a lifelong process, and loving the journey itself is key to longevity. The path won’t always be easy, so patience is essential. Also, collaboration is vital—while the creative journey is personal, it’s also a community effort. We learn from each other. Finally, don’t be afraid to be fearless in your art. Authenticity is what makes your work stand out, and that’s what people will connect with.
Listen to more music from Hamza Hawsawi here
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Tierra Whack once again transported audiences to Whack World when she headlined the Pitchfork Festival in London at the Roundhouse. The Philly rapper, who hadn't played in the UK since her Village Underground show in 2019, returned earlier this year following the release of her debut album, WORLD WIDE WHACK.
Accompanied by her DJ, Whack presented a set brimming with her flawless melodies, hard-hitting bars, and an all-encompassing energy that reverberated through the crowd from start to finish. Whack's distinctiveness in her approach to music and artistry, a trait that has always set her apart, was on full display.
She broke out into the scene with her freestyle raps, which gained her an audience online, before coming into the space with her mixtape WHACK WORLD back in 2018. The project, which has a run time of 15 minutes, is filled with one-minute tracks that, although short, pack a punch with her clever lyrics and eccentric music video, which married well against the music's aesthetic.
The show was a testament to this. She delivered a set of just under an hour, brimming with her playful personality as she interacted with the crowd throughout the show. She invited two fans to sing on stage with her, one celebrating a birthday and the other requesting a Flea Market throughout the show. She even joined them in the crowd, becoming one among the masses. Her mother, witnessing her performance in London for the first time, shared a touching moment with her, adding an emotional depth to the show.
She kicked off the set with 'MOOD SWINGS', the opening number from the project, and proceeded to bring the album to life by performing tracks like 'SNAKE EYES, CHANEL PIT, MS BEHAVE, IMAGINARY FRIENDS, TWO NIGHTS '. She also took the audience back to previous songs like 'Fuck Off', 'Flea Market', and the fan favourite 'Clones', ensuring a diverse and satisfying musical experience.
One thing about Tierra Whack is that her creativity has always remained strong. As she has always marched to the beat of her drum, one thing is evident: She is somebody who will always give you an enjoyable experience in any way that she delivers.
When you press play on Peace and Love, Juls's latest offering, you are once again transported to a sonic landscape that takes you all across the world. From top to bottom, the 18-track album once again provides evidence of his ability to constantly evolve and grow within his artistic talents while also remaining true to the sound he has been able to cultivate throughout his 10-year career span.
The album is a vibrant collection of sounds that are both rhythmic and deep in the sonic realms they transpire from. Taking listeners from sounds from Brazil, Ghana, the UK, South Africa, and everywhere in between, he is the prime example of somebody who sees no borders in the music he is able to create.
Not to mention his ability to bring together various talents from all over the globe, including frequent collaborators such as Tay Iwar, Projexx, and Jaz Karis. He blends a mixture of talent, from established artists to newer talent names such as Victony, Ghetts, Wretch 32, Odeal, Mereba, and Joey Bada$$, to name a few. He allows them to flourish in their own way across the beats and sounds that he creates.
His work as a producer and DJ over the past decade has made him one of the sought-after global tastemakers. He has been able to tap into new sounds and build a sonic profile that is unique to his style of music and makes him stand out amongst his peers.
Speaking to Juls, we touched on his new album Peace & Love, the secret behind his collaborations—10 Years of Juls—and so much more.
You just released your latest album, Peace & Love. Tell us about the title and its meaning.
So, Peace and Love is a phrase that I often use when speaking to everyone and anyone, from my parents to siblings, to friends and colleagues. When I say goodbye, I'm like, "Peace, peace," or if someone is saying something to me, it's like, "Love, love, love." But the reason behind me calling my album Peace and Love is because a lot of the sonics in the music that I was creating over the last few months were just around environments that depicted peace, whether it was on my travels, in the hotel or my studio making some of these beats. I guess a lot of the love I had when making the music came from being surrounded by a lot of love—from family, friends, and many artists I work with. There was a lot of love in the room in terms of collaboration and a lot of appreciation for each other's art. Over the last ten years of making music, many of my music and sonics have depicted that vibe, whether the message is about love, lust, intimacy, or something more profound. So, I decided to call my album Peace and Love because when someone listens to the CD, the vinyl, or plays it wherever they want, it's supposed to evoke that natural feeling of peace, whether you're in your lounge, your car, with friends, or even in the club. It's supposed to depict that type of energy, and that's why I called it that.
You released a number of singles before the album dropped that gave us a different glimpse of what to expect. How did you choose the singles you wanted to lead with?
In terms of why I chose the singles, I wasn't thinking about the process of choosing them strategically. It was just about the feeling at the time. The first record was with Odeal, Hold You Down, which was like springtime when we dropped it, gearing up for summer. Summertime is when people want to be outside, find love, or spend time with their loved ones. That record speaks to that in a very intimate way. The record with JayO was strictly for summer because of the tempo—it gets everybody dancing and feeling good. You know, having a great time in Malta during the summer was what that track depicted. Perspective was also dropped in the summer, but around that time, summer started to simmer down a bit; even though it was dropped a little before Carnival, it was meant to create a soundtrack for summer at sunset or sunrise. It's the type of record you'd play when things are calming down. The message also speaks about how we see things from different perspectives, specifically from our travels and culture. The Black Sherif and Projexx song was me wanting to put out a record that represented many of the roots that I come from and relate to, which is Ghanaian highlife and Caribbean music, like reggae, by way of collaboration with Projexx. That's how I went with the music—I wanted it to give an impression of what the album would sound like. But when people listen to the album fully, there may be some surprises or pleasant surprises regarding collaborations with the people on the album.
What is the process of choosing your collaborators, especially for this project?
When I'm making music, I make a lot of beats just for the fun of it. Then, when I have the beat to a certain level, I think about what I want the message to be. I'm not necessarily thinking about the artist there and then. However, whenever I work on a project, I have a whiteboard of artists I would love to work with. Most of the time, they are artists I am a massive fan of, and they've also been fans of me. For example, Odeal and I wanted to work together for a while, but something always came up whenever it was supposed to happen. However, we finally managed to lock in and create some amazing music, and we still have a lot of stuff in the stash. JayO—I'm just very fond of him as an artist. Masego—people have been screaming for a Juls and Masego collaboration for years. I've seen the tweets. With Black Sherif, it was more personal in terms of being from Ghana. Many of us are trying to fly the flag high because so many of us are doing amazing things, but we're trying to cross over to the levels our peers in Nigeria and South Africa are reaching. There's Amaarae, King Promise, Sarkodie, Stonebwoy, myself, and even here in the UK—J5, NSG, who have some Ghanaian members. That's how I approached it. I wanted a good blend of artists from different parts of the world, but I feel like with this album, I tapped into some very alternative acts from the UK, which I haven't done as prominently before, apart from maybe on my Colour mixtape. This time, I made it more intentional, having Wretch, Odeal, JayO, Ghetts, Jaz Karis, Miraa May, SamRecks, Tendai, Unknown T, Kali Claire, and Louis Rei from WSTRN on there. I wanted to bring in different demographics and incorporate them into my world of sound.
How would you describe the album's sound for anyone who has yet to press play on the album and hasn't already done so?
This album will still have the feel of summer. Unfortunately, I've never been able to release an album at the right time, where I feel the music should sit, which is summer. But this album can go onto different summers and is perfect for holidays. When people go on holiday, they can put on a Juls album or my discography, which will take them there. You can expect a lot of those vibes on this album. I'm also tapping more into my up-tempo side, getting people dancing more, and that's the journey I'm taking forward after this album. I'm also collaborating and producing many more cuts for other artists. So, yeah, this album embodies different vibes and sounds, but they still scream summer, hot weather, good energy, and good vibes.
With this album, you take us all around the world in terms of the sounds and sonic profiles you have on it. Tell us about how travelling and being able to create in different places has impacted the creative process of making it.
Travelling to different parts of the world opened my ears to different sounds and how some sound similar to the music I've grown up on. Going to Brazil, I listened to many Bossa Nova and Baile Funk. You know, Bossa Nova is something I unintentionally caught onto through jazz music because my dad has a massive jazz collection and a lot of Quincy Jones records. Quincy tapped into a lot of Bossa Nova as well. Jamaica is one of my favourite places in the world— a lot of my music is heavily inspired by reggae and dancehall. So, it's always important for me to make sure that my collaborations are authentic, and I'm constantly collaborating with people from that side of town on those types of beats. I don't want to come off as appropriating, and I also add my own Juls flavour to it so it sounds like me, but people from different cultures can relate to it. That's why I like to travel a lot, to experience different cultures, see how they relate to one another, compare them to mine, and learn things along the way. All of those experiences influence how I make my music, and that's how this album came about. This album was made in different parts of the world, specifically Brazil, Jamaica, Ghana, the States, and the UK. Even going to South Africa a couple of times and connecting with some of the big Amapiano acts, mixing my flavours with theirs.
We've seen you having fun in the visual, showcasing the vibe and feel of the music and album. You've also teased a film. So, what can we expect?
I can't say much, but we are working on a special film to bring the album to life. This will entail how the album was made alongside some very interesting musical pieces and some of the acts, among other things, but I don't want to give away too much.
How does this moment feel, having just dropped the new album and celebrating that you've been in the game for 10 years as an artist?
With this album, I didn't know what to expect. But a lot of blood, sweat, and tears have gone into it, and I believe it will be the beginning of a new era: the next ten years of Juls making music! I can't wait for people to see that side. Over the last ten years, I've created an amazing catalogue that many people haven't even dug into yet. So, when I start this new chapter, I'll have a strong musical legacy that will live forever, and I'm quite excited about that.
CREDITS
Photographer - Gold Owolabi @golld.au
Creative Director & Producer - Seneo Mwamba @seneomwamba
Lighting - Bruno Nnadi @risquesociety
Stylist - Danette Pokoo-Powell @danettepowell_stylist
MUA / Groom - Carly Corrine @carlycorrinemua
Creative Assistant - Whitney sanni @its.whit_
Journalist - Seneo Mwamba @seneomwamba
PR - Twelfth House @twelfthhouse_co
Look 1
Kwaku Joseph - @kwakujospehbrand
Mvc jewellery - @Mvc.customjewellery
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Kwaku Joseph @kwakujosephbrand
Miss Tee collections - jewellery @misstee_collections
Look 3
Labrum @labrumlondon
Custom hat by @its.whit_ & @danettepowell_stylist
As a creative professional in the music industry, maintaining control over your artistic vision is absolutely crucial to your success and fulfillment. Whether you're a songwriter, musician, producer, or artist, your unique creative perspective is the lifeblood of your work - and it's what sets you apart in an incredibly competitive landscape.
The music industry is notorious for attempting to exert control over its creatives, whether it's record labels dictating the direction of an album or executives meddling in the creative process. However, the artists and songwriters who are able to guard their creative autonomy are often the ones who enjoy the most sustainable, impactful, and rewarding careers.
Here's why creative control is so vital for music industry creatives:
Preserving Your Artistic Integrity: When you relinquish control over your creative output, you risk compromising the very essence of your work. The songs, sounds, and artistic statements you produce are an extension of your unique identity as an artist. Allowing external forces to dictate your creative decisions can dilute or distort that identity, leaving you feeling creatively unfulfilled and disconnected from your own work.
Standing Out in a Crowded Market: In an industry that's saturated with homogenized, focus-group-tested content, maintaining a strong, differentiated creative vision is one of the best ways to make your mark. Fans and listeners are craving authenticity more than ever - they want to connect with artists who are uncompromisingly true to themselves. Guarding your creative control allows you to develop a sound, style, and artistic persona that is distinctly your own.
Longevity and Creative Sustainability: The artists who enjoy the most enduring careers are often those who have fought to retain creative autonomy throughout their lives. When you have the freedom to evolve organically as an artist, you're able to maintain a sense of passion and fulfillment in your work. This protects you from burnout and gives you the stamina to keep creating at a high level for decades.
Leveraging Your Unique Perspective: As a creative professional, your most valuable asset is your singular point of view. The music industry is filled with gatekeepers and decision-makers who may not fully understand or appreciate your creative vision. By holding firm to your creative control, you're able to share your perspective with the world on your own terms - which can lead to immensely rewarding opportunities and accolades.
Ultimately, creative control isn't just about exercising your rights as an artist - it's about honoring the very essence of what you do. In an industry that can be fickle, ruthless, and creatively stifling, guarding your creative autonomy is one of the most important investments you can make in your long-term career and fulfillment as a music industry creative.
In today’s highly competitive music industry, creating a hit song is just the beginning. Effective marketing is essential to bringing that song to listeners worldwide. Beyond just releasing music, artists need a well-rounded promotional strategy that engages fans, garners visibility, and ultimately drives success. In this article, we’ll explore the importance of music marketing, the role it plays in a song’s success, and how strategic marketing can elevate a track to the top of the charts.
Why Marketing is Crucial for Music Success
The music industry is saturated with new releases daily, making it challenging for any single song to stand out. This is where effective music marketing comes in. It provides artists with the tools to break through the noise and directly reach their audience. Marketing amplifies a song’s presence across multiple platforms, using tactics like social media promotion, playlist placement, and influencer partnerships to generate buzz.
Marketing also helps build an artist’s brand. A song that aligns with an artist’s image strengthens their identity, which is vital for fan loyalty and long-term success. Well-designed campaigns target the right listeners, connecting the song to those who are most likely to engage with it. Without marketing, even the most beautifully crafted song may go unnoticed, regardless of its potential.
Key Roles Marketing Plays in a Song’s Success
Audience Engagement and Building a Fanbase: Marketing engages audiences by creating a connection between the artist and the listener. Social media platforms such as Instagram, TikTok, and Twitter allow artists to interact directly with their fans, making the music experience more personal. Marketing campaigns that encourage user-generated content, challenges, and contests make fans feel involved in the journey of a song, turning them into loyal supporters.
Cutting Through the Noise: With an ever-growing number of musical acts and releases, the music industry has become increasingly saturated. This saturation makes it challenging for individual artists to stand out and capture the attention of their target audience. Effective marketing enables artists to cut through the noise and reach potential listeners, fostering brand awareness and recognition.
Expanding Reach through Digital Platforms: Streaming platforms like Spotify, Apple Music, and YouTube play a massive role in modern music consumption. By targeting playlists, featured placements, and algorithmic recommendations, effective music marketing ensures a song reaches wider audiences. Playlist promotion, in particular, can introduce the song to millions of listeners worldwide, accelerating its climb in the streaming charts.
Boosting Brand Recognition: Consistent and cohesive marketing efforts help artists build a distinct brand identity, which can be a powerful asset in the music industry. A well-crafted brand, coupled with strategic marketing, can foster long-term loyalty and recognition among fans, ultimately contributing to the artist's overall success.
Harnessing Analytics and Data: Marketing isn’t just about creativity—it’s about data, too. Analyzing streaming statistics, social media engagement, and audience demographics allows marketing teams to understand what’s working and where improvements are needed. This data-driven approach fine-tunes campaigns, ensuring that marketing dollars are spent effectively to maximize song visibility.
Increasing Revenue Opportunities: A well-marketed song doesn’t just gain listeners; it also generates revenue. Increased streams, downloads, and ticket sales for live performances are some of the financial benefits of successful marketing. Merchandise sales, brand partnerships, and licensing deals often follow a song’s popularity, creating multiple income streams that benefit both the artist and the team behind them.
In conclusion, effective marketing is the engine that drives a song to success. In a constantly evolving industry, strategic music marketing efforts—whether through social media, playlist placements, or influencer partnerships—are essential to ensure that a song reaches its intended audience. From brand building to fan engagement, marketing plays an irreplaceable role in maximizing the potential of each release. For any artist or music professional, understanding the significance of marketing and embracing its possibilities is critical to making music that not only resonates but endures.
The phrase “joined at the hip” often describes the closeness between people, whether siblings or lifelong friends. This bond, the ability to stay connected through life’s highs, lows, and challenges, makes the journey more bearable. For twin brothers Banele and Bandile Mbere, known as Major League Djz, embarking on their journey in the music world together was a natural choice. “We’ve always worked together with everything. We started being promoters in high school, and then we grew into bigger promoters,” they explain. They’ve evolved into major players in the Amapiano music scene since their early days as high school promoters. DJing became a part of their path right after high school, leading to a decade-long career that has made them prominent figures in Amapiano.
The Major League sound isn’t typical Amapiano. Known as “Piano Fusion,” it blends influences from a variety of genres. “We’ve been influenced by a lot of different music and many different cultures as well. We’ve travelled a lot in our lives, and with our sound, we just take all the music we’ve heard and bring it into what we do,” they share. This approach has propelled them to the forefront of the Amapiano movement, making their sound unique among other artists representing the genre.
Their initial venture into music was through a sound they coined “New Age Kwaito.” It drew from the original Kwaito genre, creating a more hip-hop-based variant that resonated with South African Hip-Hop influences. Through each evolution of their sound, they’ve infused elements of local culture, blending vocals, dialects, and rhythms from different backgrounds. “We were rapping in vernacular vocals, mixing it with English, and bringing in the local kasi culture of South Africa. From there, we transitioned into Amapiano, which is a sub-genre of Kwaito. So, it’s been a continuous build from what we started to where we are now,” they explain.
Today, Major League Djz have reached global audiences, thanks to their consistency and collaboration with artists worldwide. Their adaptability in blending genres has been key to their success. “The collaboration process is not hard because it organically happens in the sound. Collaborating is a big part of the scene; we’ve been doing it for a long time. Working with artists who have the right energy and synergy is what we’re focused on,” they say. This collaborative spirit has led to numerous hit songs, enhancing their role as influential DJs and producers in the industry.
Their latest release, “One Of Them,” featuring UK rapper Tion Wayne, continues their successful year. This year has seen them work with big names like Wiz Khalifa on “Mine For The Night,” Victony on “Margaret,” and join forces with Stefflon Don Brooklyn rapper Fivio Foreign on “Big Fat Machine”. Their collaboration with Tion Wayne was effortless and authentic. “We just linked up in the studio. It happened organically, and he was already listening to Amapiano, so he understood the vibe and brought his style to it,” they say. When they debuted the track at their Balcony Mix Crystal Palace show over the summer, the crowd’s enthusiastic response showed they had hit the mark.
Their success in the UK is unsurprising, with a sold-out show at the Iconic Brixton O2 Academy, a four-week sold-out residency at The Outernet and closing the Piano People’s 2023 Festival at Drumsheds. Their Balcony Mix outdoor show drew their largest crowd yet in the UK, a testament to their growing presence internationally. Reflecting on the UK’s Amapiano scene, they note, “It’s been amazing seeing the growth. Our shows have gone from indoor venues to outdoor events, marking a significant moment for Amapiano.” Events like Piano People’s inaugural outdoor festival and their own Balcony Mix Crystal Palace Bowl show underline the UK’s rising appetite for Amapiano, with Major League Djz playing a pivotal role.
Balcony Mix Africa, their platform, has allowed them to reach beyond Amapiano, highlighting diverse African sounds. Started in early 2020, just before the pandemic, Balcony Mix Africa brought virtual music experiences to people confined at home, showcasing various dance genres. “It just started on our balcony, with us listening to music, showing different vibes, dances, and influences from the genre. We collaborate with some of the biggest pioneers of the sound to show its different sides. It’s a bridge to showcase what’s happening with the sound globally,” they explain. Since its inception, Balcony Mix Africa has expanded internationally, with the UK as one of many stops in their global journey. Their mission remains clear: to share African music culture with the world. “Balcony Mix is a platform for the cultural experience of Amapiano. We wanted to capture and share the sound’s essence so people can connect with the culture that birthed this music.”
Their bond as brothers shines through in their live performances, where their mutual energy and understanding are palpable. “It’s dope. We don’t know anything else for us but to be together. We’ve always worked side by side, supporting and pushing each other,” they say. Their musical connection allows them to carry one another in their sets, strengthening the Major League Djz sound.
With all they’ve achieved, Major League DJz are only gaining momentum. They focus on building international bridges for Amapiano and exploring new territories and sounds. “We’re just building bridges for our music to reach new places. We’re dropping a lot of international features and singles, building tier by tier. When it all makes sense, we’ll release the EP,” they hint. As the year continues, it’s clear that Major League DJz are evolving and committed to pushing Amapiano into new realms and redefining traditional musical boundaries.
CREDITS
Creative Directors - Jessica Ross @jessicaelizaross, Seneo Mwamba @seneomwamba, Zekaria Al-Bostani @zek.snaps
Photographer - Jessica Ross @jessicaelizaross
Producer - Seneo Mwamba @seneomwamba
Gaffer - Nathan Ford @nathan.t.ford
Grooming - Carly Corrine @carlycorrinemua
Styling agency - jendaya @jendaya
Stylist - Jay Tagle @jayytagle
Styling Assistant - Taylan Holness @taylan.holness
Design - @deeds.studio (@dianeadanna)
Studio - Kimber Studio @kimberstudio_
Management - Zinitha Ntanjana @zinithacaprilad
Interviewer - Seneo Mwamba @SeneoMwamba
When you think of Afrobeats, you think of energy, authenticity, and connection—all of which DJ Enimoney has made his trademark. The YBNL Nation DJ, best known for his electrifying live sets and music production, has turned his passion for Lagos nightlife into something truly special with Big Man’s Party. What began as a local celebration in Lagos has grown into a global movement, drawing DJs, artists, and fans together across continents, all united by the spirit of Afrobeats. In this exclusive interview with Deeds Magazine, DJ Enimoney shares how an idea sparked in the heart of Lagos has become a global platform for connection, inspiration, and the future of taking Afrobeats global.
Deeds Magazine: What inspired you to start Big Man's Party, and how did it all come together initially?
DJ Enimoney: BigMan’s Party was inspired straight from the pulse of Lagos nightlife—where the energy is unmatched, and every night tells a different story. When you're in a Lagos club, you feel the blend of old-school classics mixed with the hottest new tracks, creating this incredible vibe that’s both nostalgic and fresh. That fusion, that vibe of mixing eras, is what BigMan’s Party is all about. In Lagos, it’s more than just the music; it’s about the people, their style, and that effortless mix of urban street with upscale chic. From the way people show up, dressed in everything from streetwear to sharp, polished fits, to how they move to the beat—it’s that Lagos essence. We say "normal Lagos thing" because it’s a way of life here, a culture that’s all about high energy, connection, and a love for great music. And that’s exactly what I wanted to capture with BigMan’s Party.
Deeds Magazine: How did you come up with the name Big Man Party? Why choose "Big Man" instead of any other name?
DJ Enimoney: Big Man, yeah, that name Big Man is like a gift from God. You know, I just woke up one day and that name just came to my head—Big Man, you get me. I said to myself, you know, this has got to be my brand.
Deeds Magazine: You've taken Big Man Party to the UK and have plans to expand further. How do you adapt the event for international audiences while keeping its authentic Afrobeats spirit?
DJ Enimoney: Taking BigMan’s Party to the UK has been an amazing journey, and adapting the event for a UK audience while keeping the authentic Afrobeats spirit is all about blending the vibrant energy of Lagos with the unique cultural vibe of the UK. Afrobeats has become a global force, and the UK has a strong connection to African music, so the challenge is in bringing that Lagos energy to life while resonating with the local crowd. In the UK, we keep the core of BMP—Afrobeats and the high-energy vibes—while incorporating elements that speak to the UK’s diverse music scene. We collaborate with local DJs, artists, and influencers who know how to blend the best of both worlds, seamlessly mixing Afrobeats with genres that UK audiences love, like grime, dancehall, amapiano, and hip-hop. The music is always the heart of BMP, but we make sure to infuse the UK’s unique flavor, whether it's through special guest appearances or collaborations with UK-based DJs.
Deeds Magazine: Afrobeat is gaining popularity worldwide. How can we ensure that the culture itself is respected and preserved as it reaches new audiences through your work and by taking these events to different cities?
DJ Enimoney: The Afrobeat culture, yeah, like you said, yeah, Afrobeat is everywhere, trust me on that. The only thing we just need to do is to just keep our thing, own it, like properly, don't let nobody take it from us, yeah. Same, we don't make any mistakes. There are gonna be mistakes, you know, but let's just make sure that the mistake we made, yeah, the mistake we're making, yeah, we're not letting people see our mistakes— you get what I'm saying. That's the only way we can get respect from people. Once they're not seeing our mistakes, you get what I'm saying, we can get loads of respect from people outside the genre.
Deeds Magazine: You mentioned that building a sense of community is important to you. Does Big Man Party also serve as a hub for DJs and music lovers to connect and celebrate the culture?
DJ Enimoney: Creating a sense of community is at the core of BigMan’s Party, and it’s one of the things that makes the event so special. It’s not just about the music—it’s about bringing people together to celebrate the culture, connect with one another, and create a vibe where everyone feels like they belong. Each episode of BigMan’s Party features 2-3 DJs that I truly respect and love their sound. I’ve always believed in highlighting talent that has something unique to offer, and through BMP, I get to showcase these amazing DJs to the world. These aren’t just the hottest names in Afrobeats, but DJs who are pushing boundaries, mixing genres, and creating new sounds that represent the future of the culture. By bringing together these DJs from different corners of the scene, we create a platform where both emerging and established talents can share their sounds with a broader audience, while also celebrating the diversity within Afrobeats. The event becomes a space where music lovers from all walks of life come together to enjoy the beats, connect with the artists behind the music, and vibe with each other in a space that feels like home—whether you’re a long-time Afrobeats fan or just discovering the culture. BMP is all about the community—the DJs, the team, the fans, the dancers, the fashion, and the energy. It’s where everyone can celebrate the music and culture we love, share experiences, and make memories together.
Deeds Magazine: With Big Man’s Party growing into a movement, how do you ensure it remains a platform for community and culture, rather than just a party?
DJ Enimoney: As BigMan’s Party grows into a movement, it’s essential for me to keep it grounded in community and culture, not just as a party but as a space for connection and growth. The heart of BMP is all about celebrating Afrobeats, but it’s also about creating opportunities for fans and artists to engage, learn, and share in the journey. The team and I invite our BMP family to exclusive events outside of the regular parties—like intimate artist listening sessions, cultural meet-ups, and even workshops. These spaces allow us to build deeper connections and share more than just music. Additionally, we’re running community-only groups on social platforms, where fans can connect, share experiences, and exchange ideas about Afrobeats and the culture. These groups are more than just a fan space—they’re a place for real conversations and support, where we can keep the energy alive and continue to grow as a community.
Deeds Magazine: How do you measure success in your career beyond fame and reach, especially when it comes to your impact on fans and the Afrobeats industry?
DJ Enimoney: Success to me, it's what I've done. I've done so many things, I can come today and say, it's me that did this, it's me that did that, you get me? Without work, without you doing anything, they can't say you're successful. You have to have an impact on the industry or society before they can say you're successful in what you're doing.
Deeds Magazine: What are your plans for Big Man's Party in the near future, including next year and this December period?
DJ Enimoney: We’ve got a lot coming for BigMan’s Party, and honestly, I’m super excited about what’s on the horizon. There are some major expansions in the works, and I can’t wait to share them with you all. But here’s the thing—it’s all a surprise for now. I want to keep some things under wraps because I believe in giving my fans those unexpected, unforgettable moments. What I can promise is that as we grow, we’re bringing even more unique elements to the party—whether it’s new collaborations, special performances, or fresh ways to experience the culture, you can expect BMP to continue pushing boundaries and staying true to the vibe that makes it so special. So stay tuned, because trust me, you won’t want to miss what’s coming next!
Deeds Magazine: What can we expect next from Big Man’s Party? Which cities are you visiting next?
DJ Enimoney: The world is my oyster, and while we’re excited about the growth of BigMan’s Party, I always prioritize quality over quantity. So, whatever city we hit next, know that it’s all about making sure every experience is special and tailored to the audience. We’re not just about expanding for the sake of it—we’re focused on creating memorable moments, building authentic connections, and celebrating the culture with passion and energy. This December, we're heading back to where it all began in Lagos, bringing that homegrown energy back to the heart of the scene. And come the top of next year, we’ll be conquering the UK, city by city. But it’s not just about adding cities to the list—each one will be an important stop, and we’ll make sure that wherever we go, every crowd feels valued and part of the BMP family. So stay tuned because the best is yet to come!
DJ Enimoney’s passion for Afrobeats and the Lagos nightlife experience has not only shaped Big Man’s Party but also redefined it as a cultural movement with a global reach. As he continues to expand the party across borders, Enimoney remains committed to preserving the essence of Afrobeats while creating spaces for connection and community. Whether it’s bringing a slice of Lagos to the UK or building a new fan base in a different continent, DJ Enimoney’s vision is clear: Afrobeats is here to stay, and Big Man’s Party is just getting started.
CREDITS
Producer: @iamdreameruk
Creative Direction: @thepikture
Photographer: @thepikture
Photography Assistant :@kene_madu
Design: @deeds.studio (@dianeadanna & @shalemalone)
Interview: @deeds.studio (@lanacreatesss & @xdeoye)
BTS: @delano.therapy
Lights: @iamdreameruk
Stylist: @guellorcanza x @amaechi_godwin_
Management: @kobra.culture
Nigerian-born artist Ta Liebe, also known as Hamzat Talib, has released his highly anticipated sophomore EP, Absent Mind. This deeply personal project captures his evolution from childhood innocence to self-realization, exploring significant moments of pain, growth, and acceptance. Blending Afrofusion sounds with introspective storytelling, Ta Liebe takes listeners on a journey through the transformative experiences that have shaped him.
Reflecting on his journey, Ta Liebe describes Absent Mind as a record of personal growth: “This project marks a major change for me, a time of facing my own shortcomings and learning from my past. It’s a collection of experiences from my childhood through my early 20s, all of which have helped me understand who I am today.” Through this EP, Ta Liebe delves into universally relatable themes of self-discovery, inviting listeners to resonate with his reflections on life and love.
The title, Absent Mind, emerged during a period of deep introspection, capturing his experience of coming to terms with feeling disconnected and finding clarity within himself. Each track encapsulates a distinct moment in this journey, as Ta Liebe explains, “It’s about finding awareness after feeling lost. Each song represents an awakening, a moment of realization that’s contributed to my growth.”
Released in January 2024, this sophomore EP marks the third project of Ta Liebe’s impressive career so far.
The EP’s five tracks span a range of emotions and themes. “Fall” and “Anything” offer guidance and resilience, reflecting his relationship with God and his journey of self-acceptance. “Advil” recounts the challenges of balancing love with a fast-paced lifestyle, while “BADA” explores the bittersweet nature of longing for a lost love. The upbeat “Ding Dong” captures the carefree joy of youth, embracing moments of freedom and connection.
Absent Mind also features collaborations with notable artists like Erigga, Magnito, and Major Bangz, who bring their unique styles to enrich Ta Liebe’s sound. To connect with fans, he is promoting the EP through social media campaigns, exclusive events, and even NFTs.
“With each track, I want fans to feel the emotions and understand the journey that led me here,” Ta Liebe explains. Absent Mind is a testament to his growth and passion, inviting fans to connect deeply with his story through soulful Afrofusion rhythms.
Incredible scenes were set as Doechii took the stage at the first of her two-night stop in London as part of her Alligator Bites Never Heal Tour. Playing a sold-out show at Islington Academy Hall, the singer delivered an electrifying set that was powerful and fueled by energy and performance that had the audience going from start to finish.
The air was charged with anticipation as the audience awaited Doechii's arrival on stage. DJ MissMilan set the tone for the night with an hour-long set that had everyone on their feet. Even the security's attempts to get people to sit on the balcony level were met with resistance, adding to the excitement in the air.
Once the Florida native arrived on stage to a swamp-like setting that matched the aesthetic of her mixtape, she wasted no time getting right into the album's vibes. Opening with BOOM BAP, she delivered a series of back-to-back raps and tracks that lifted the songs in every sense.
Doechii's artistry is a unique blend of melodic raps, playful flows, and intricate wordplay. Her songs like Yucky Blucky Fruitcake, Crazy, Persuasion, and What It Is have had viral moments, showcasing the continuous strength of her artistic ability. But when you listen to the mixtape, you truly understand the depth of her talent. The 19-track mixtape effortlessly showcases Doechii's range, telling stories of her struggles with newfound fame and vulnerability when speaking about her experiences over the past few years.
Putting those onto the stage with nothing but a DJ accompanying her, Doechii showed that you can give a lot even with very little. The debut tour sold out within minutes, and the evidence of two sold-out shows in London is proof of her potential and the star power she already has and is well on the way to continuing to the building.
Her set was delivered from top to bottom throughout the hour-long setlist. Standout moments included BOOM BAP, which was an incredible tone-stater to the show before going into tracks like DENIAL IS A RIVER, Pro Freak, Persuasive, Stressed, PROFIT, HUH, and Alter EGO before ending with the album title ALLIGATOR BITES NEVER HEAL.
Overall, Doechii delivered a world-class performance that left the audience buzzing with energy. The crowd's reaction, from the first note to the last, was a testament to the power of her live performance, which for her first debut tour is a statement. After being met with the vibes and the energy, it was a sensational space to be in and certainly made for a Sunday evening well spent.
When one looks at Neila's profile, it is undeniable that she is an artist who exudes creativity from top to bottom. The pop of colour throughout her artistic expression and the hyper glam and energy you get from what you see is just one part of her creative identity.
Neila is not just a singer and songwriter who blends R&B and pop. She is a versatile, multidisciplinary artist who serves as a creative director and stylist, among other things. Her versatility keeps her audience intrigued and excited about her next project.
Amidst the vibrant colours, a profound vulnerability resonates when you press play. On her latest EP, SCARS, released earlier this year, Neila delves into themes of loss, love, and a journey of inner transformation she has embarked on throughout the year. This journey of self-discovery is not just Neila's, but a source of inspiration for her audience.
Speaking to Neila, we touch on everything from her creative expression, making music, creative inspiration, her brand new EP, and more.
For people who don't know, how would you introduce yourself,
That's always an interesting question because I'm very multi-faceted; I am first a daughter, a sister, and an auntie. I'm also a singer-songwriter. People would probably put my music into an R&B category, but I do genre-bending; it leans more towards Pop and R&B as a mix. I'm the product of two immigrants. My dad is from Jamaica, and my mom is from Barbados. I'm a multi-faceted artist and singer-songwriter with Caribbean roots.
Being multi-faceted, what would you say have been the roots of your creativity and where that expression began for you?
I've always been super creative. I've also always known that I wanted to pursue a career as a recording artist since I could speak. I've been on this creative journey as a singer, songwriter, visual artist, creative director, stylist, and everything else. So those things trailed after I realized from a very young age that I wanted to be a singer. I wanted to be on these big stages and perform for thousands of people I've known. Then, the songwriting, the creative directing, the styling- that stuff- came as an extension of wanting to be a recording artist. My parents are super awesome. People usually think of Caribbean or immigrant parents as, like, very strict, but my parents have been one of the biggest driving forces behind why I've even pursued music. So yeah, my whole life, honestly, and I owe a lot of it to my parents, not shutting down my dreams, not showing down my passions, but honestly, pushing me towards doing it.
Who would you say were some of your musical influences?
I am inspired by, like, a melting pot of artists. I've always loved the Beatles. In middle school, I discovered the Beatles and Jimi Hendrix, and I was involved in learning about Michael Jackson. My mom was a huge Michael Jackson fan, so I got into super old Michael Jackson in middle school. Their freedom and expression have always been a big part of what inspired me. And then the visualization of how they express themselves visually as artists, Jimi Hendrix and his look was like a whole thing, you know, I'm saying like to this day, like people still emulate Jimi Hendrix and how he looks. The Beatles ' self-expression was very colourful, very vibrant, very psychedelic. Michael Jackson is one of the best visual artists we will ever have. So, that started in middle school for me. Then, as time passed, people like Pharrell, Missy Elliot, Tyler The Creator, and people like that have always been sources of inspiration, musically and fashion-wise. I love how they are themselves, blending so many different genres. You can't put any of those people into a box. And they're like little creative geniuses, like on their own.
How did you come to establish and discover your sound and the hybrid of music you would make?
It took me a while because I am a songwriter, so naturally, I can write almost anything. I was doing that for a while, just like writing to everything. I started to hone in on that, like the sweet spot for me, in 2021 and 2022, and then the project I dropped that felt the most like me authentically was my project. Bite me. And we worked on that for a few years prior. So it was like finding it there, and then with this newer project, Scar kind of like a blend of that, with me being more emotional, a little bit darker in certain aspects. But, yeah, it took me some time. Many songwriters can write many different things, but not everything is for them.
With your EP Bite Me, which you released last year, and Scars, which came out this year, how do both these projects represent the different sides of your artistry?
Visually, I'm a very colourful person; extra is extra, more is more, and that's my visual aesthetic type. I like the theatrics, like the storytelling, and with my music, with Bite Me and SCARS, I started telling more, taking that visual aspect of me, telling stories, and putting it in the music. I like my beats to hit hard, and I do like 808s, and that's not common in R&B; I like to be cheeky in my lyrics; I have a very pop way of writing, which is a little bit more straightforward and a little bit more play on words. I feel like R&B is very soft sometimes, and I don't always feel that way; I don't feel soft like I do feel like banging on a desk and screaming sometimes. So I think that once I allowed myself to get out of the mind of you're an R&B singer, you have to sing R&B like how everyone sings R&B, I started being more like myself, and that's when my Missy Elliot vibes came in and listening to Pharrell Destiny's Child and it was like, oh, this is fun this feels good. I have a very defiant personality, in the essence of I don't like people telling me what to do. I don't like people trying to control my body and my mind, and everybody should have autonomy over every single part of their life. So that's what my music reflects more now, as I started feeling more confident and not like trying to fit some R&B mould. I just started doing what I liked, what felt good, and what felt more like me. That's where the music and my aesthetic started to match up more.
Speaking of your visual aesthetic, it's a prominent part of your artistry and stands out firmly, even in establishing that aesthetic and building that side of things. Could you elaborate on how you came to create this aesthetic to go with your music? What was the process like and how does it complement your music?
I've always been super attracted to colour, colour extraness, just things that are bold and different. I'm very organized in thinking about things and viewing things, so I made a mood board of what I wanted Neila to look like. Neila is not my birth name; it's alien spelt backwards, so for me, it was like, I get to imagine exactly how I want to look. Like, this is beautiful, this is so cool and so fun. It was like I was building myself in The Sims right now. So I sat down and just made a mood board and put whatever felt good to me on the board. I've always had a powerful sense of self, and that helps me a lot, too, because I don't lean towards what other people are doing or what is trendy; I lean towards what feels good for me. To this day, I make mood boards whenever I have a concept for a project or anything. I make a mood board, and I put things together.
Where do you get your inspiration from?
A lot of my inspiration and ideas come from downloads. My family's very spiritual, and I grew up knowing how to cleanse the space with incense and stuff like that. So, as an adult, I got into meditation and stuff like that, and I honestly get downloads. A lot of the times I'll pray about something, I'll ask, or like, pray out loud, and it'll just come to me. Visually, when stuff does come to me, I get like, kind of like a vision or an image in my mind and from there, I either draw it out kind of have the image kind out of my mind, and then from there, I'll go searching for real-life images so whether that be on Pinterest which is the only thing I use as far as visual mood board kind of things. But I often like to draw them out, and then again, I also like music videos. I love the early 2000s and how expressive everyone was. Like Buster Rhymes, Ludacris, and Missy Elliot, again, always Pharell visually. I'll sit down and watch, like, hella of their music video over and repeatedly. So that's kind of how I think I pull in my inspiration.
Speaking on the EP SCARS you put out earlier this year, what would you say it represents about where you are on your journey?
So SCARS came out earlier this year towards the end of summer, and it has five songs, which we released as one song a month. Last November, right while working on the project, my great-grandmother died. She was 96, and even though we knew it was coming, it wrecked my family in a way that I'd never experienced. Like I've never experienced a loss that close in any way. I had the project title before that happened, and when that happened, it felt like everything aligned more. I had a thesis statement that I make for every project for this one; it was that on our journey through life, people, places, and experiences leave their marks on us, and those are the scars we carry. And one mark or one scar we all have is losing somebody. So I found myself related so much more to the project after that loss, and some of the songs like 'Needle and Thread' ended up morphing into something more about, like, the loss of a romantic relationship. But I started writing that after driving back from Florida to Atlanta with my boyfriend, like in the car after her funeral and stuff.
How would you say you had changed from when you first started doing the project to where you are now and everything that has happened since then?
When I dropped Bite Me, the last EP last year, I was very much a bang-on-the-table person. Like, you're not going to disrespect me fuck you type of vibe, that's my personality. I don't like people doing wrong things to people, and so that's very much the space I was in, and I went from being this little angry person who was always like fuck you, to be more like, okay, it's time to heal. I realized that you don't have to say fuck you to everybody, and everything doesn't have to be a fuck type of situation. And, with my grandmother passing away, I think that I still have my edge, and I'm still a very sharp knife, but I don't think the knife needs to be brought out all the time. I am in a healing process and a healing space, and I am just looking at life as being more like, okay, not everything has to be a fight. You're not going to war with everything; these things happen. Somebody can 100% piss you off, but you don't have always to cut them up. And that's where I am now, even working on music; now I'm trying to figure out where I feel where I am because I may fuck your music for a long time. So I think finding out what that sounds like for me, lyrically, and how that feels for me now is different. So, I'm in a transitional stage because I'm no longer the angry person I am.
For people listening to this project for the first time, what do you want them to get from it?
With the project, what I want people to take away is that everyone you come across has experienced something that has left its mark on them. Understanding of cheating everybody, it's easier. We're all healing from something, such as a significant visual aspect of the project; the visuals were band-aids. And when you see a band-aid, you know something is healing underneath it. You know there's a cut, a bruise, a mark, or whatever is healing underneath that band-aid, and we all are healing something. So, I want whoever listens to the project to take it away. It's very quirky. I'm very quirky lyrically, but it's more tells a story about the things that you come along throughout life you pick up these scars from, but I think overall, it is a project about healing, and we all are healing in some way, shape or another.
What are you looking forward to next, having dropped the project?
I am going on tour, performing more, performing these songs more, seeing how people interact with them in real life, and being able to travel and share my music with people who may be hearing it for the first time. Also, I want to meet fans in real life and hear their stories because being an artist is ultimately a service industry, like we're making music. I know that music has changed my life because of the artists I listen to. Suppose I could positively impact anybody's life. In that case, I'm doing something positive, and so travelling and being able to perform my songs for people and see them in real life, like impacting somebody positively. That's what I'm looking forward to the most.
CREDITS:
Photographer: BANVOA (@banvoa)
Creative Directors: Neila and BANVOA (@neilaofficial and @banvoa)
Graphic Designs: BANVOA (@banvoa)
Makeup Artist: Tatiana Kazana (@tatianakazana)
Hair Stylist: Eboni Wallace (@ebthebeautyplug)
Styling: Neila (@neilaofficial)
Model Coach: Inari Briana (@inaribriana)
Lighting: Inari Briana (@inaribriana)
Interview: Seneo Mwamba (@seneomwamba)
Special thanks to Tre Native for the location - (@trenative).
24th October, 2024 – JD Sports, the leading retailer for sports, fashion, and lifestyle brands is excited to announce the exclusive release of Central Cee’s debut shoe collaboration with Nike: the Syna World x Nike Air Max 95.
Marking the inaugural launch of Central Cee’s close relationship with Nike, the modern-day UK rap icon has partnered with the sportswear giant to create a striking new version of the cult classic Air Max 95 and Nike TechFleece, bringing it exclusively to JD customers. A beloved sneaker and staple in the Air Max family, the design has remained a constant since launching in 1995. Originally inspired by two distinct ideas, the iconic tiered body resembling land being worn by the elements, paired with the complexity of the human body with the shoes’ outsole and heel taking shapely inspiration from the spine. UK youth have been going straight to JD to get the sneaker style, since the store opened in 1981.
The Syna World x Nike Air Max 95 boasts a primarily black-based colour scheme with Syna World iconic rose gold accents. Each pair feature a metal tag, replicating Central Cee’s lyrics and motto ‘Live Yours’.
Sported by Cench and his crew, the launch also features a limited-edition Syna World x Nike Swoosh Tech Fleece set. Tech Fleece is a favourite of the rap icon’s, choosing the matching joggers and hoodie for performances and music videos. This edition of the Swoosh features Nike’s logo on the left, with the Syna World logo on the right, in classic black with rose-gold accents.
Please see full pricing below:
Nike Air Max 95 - BLACK/MTLC RED BRONZE-ANTHRACITE-DUSTED CLAY-COOL GREY - £185
Nike Tech Fleece Pant – BLACK/(MTLC RED BRONZE) - £100
Nike Tech Fleece Jacket - BLACK/ANTHRACITE/(MTLC RED BRONZE) - £120
The Syna World x Nike collaboration will be available exclusively at JD Sports in stores from the 24th October 2024. With limited stock, fans of Central Cee and sneaker enthusiasts alike are encouraged to move quick!
Oftentimes when we talk about the African music space, we hone in on the stories of the artists but forget to mention the people behind the scenes who make things happen. When you think of individuals on the continent who are and have shaped the music industry, Seven Mosha has to be at the top of that list.
Seven Mosha (Photo: courtesy of Seven Mosha)
From starting out in her younger years as a presenter at Clouds FM (Tanzanian media house), MTV Africa, working with and managing Tanzanian artists like Alikiba, TID, Lady Jaydee and more, to her current role as the head of Marketing and Artist Development in East Africa for Sony Music, you will find very few resumes more impressive than hers. She is an executive who has an eye for talent, strong business acumen and is unabashed in her quest to take East African music to a level never seen before.
In this interview, we dive into her two decades worth of experience in the industry, the growth of the Tanzanian music scene, artist management, AI and more.
Where did the name “Seven” come from?
Seven: My government name is Christine Mosha. Seven came about when I got my first entertainment gig with Clouds Media, which is a media house here in Tanzania.
While Clouds was the first time she introduced herself to the larger public as ‘Seven,’ the nickname predates itself back to primary school days where one of her teachers “talked a lot about the powerful numbers and seven stood out. Stood out in religion. And it stood out in nature.” Prompting her to start calling herself ‘Seven’ as she not only found the number powerful but useful in serving her future creative endeavor.
When you were growing up in Tanzania, specifically during your teenage school years, what kind of music were you listening to?
Seven: From the parents' side, I would listen to African music. You know, the likes of Ringo [Madlingozi], Oliver Mtukudzi, which were my dad's favorites. Remmy Ogala, and then also the international ones, which were popping at that time.
I remember there was a show that existed. My mom used to bring a lot of tapes of the program called “Top of the Pops.” And we used to watch the artists that were popping at that time, like Michael Jackson & Kenny Rogers. Then later on, my brother came in and introduced me to a lot of Classical music, so I listened to that as well and then Rock. And eventually I started listening to Jazz later on, coming to appreciate it very late in my life.
How did your interest in the music industry come about in the first place?
Seven: I’ve always liked music, but I never wanted to be a musician and I wasn't sure what to do. But I used to enjoy entertainment, specifically on the music side and would like to entertain.
Over time, Seven came to realize that her passion for music and entertainment was not so much in wanting to be the star herself but to work on the business side of things. She goes in detail to describe how her earlier days in the industry made that decision very clear.
Seven: You either be a musician or you talk about music. So I went to radio and then I went to TV, and I would say my biggest break in understanding the entertainment industry fully was when I started working with MTV Africa. And after that, that’s when I was just like, you know what? Yeah, I want to be a part of creation. I want to create, develop artists, and be an artist manager.
Seven Mosha (Photo: courtesy of Seven Mosha)
You started your career in radio, working at Clouds Media Group, then East Africa TV and eventually transitioned to MTV Africa where you headed up A&R and Commercial in East Africa, which included launching MTVbase in Tanzania. In your tenure within these roles, on radio and tv, can you draw a picture for us of what the Tanzanian music landscape was like and its eventual growth process?
Seven: Clouds was very instrumental in providing some sort of structure and understanding of our music. The music was already being developed and was already there, but I would say Clouds kind of commercialized it and packaged it in a way that people had access to relate to what they can understand and what they can hear.
Mosha recalls how the platforms that were around at the time mainly focused on ‘international music’ whereas Clouds honed in on branding the local sound of Bongo Flava and went as far as to create concerts such as its famed ‘Summer Jam’ series which later turned into ‘Fiesta.’ She said that home grown platforms like Clouds helped the Tanzanian music industry be “way ahead” amongst their East African counterparts.
Seven: So we were well advanced by the time East Africa radio and TV opened. And then Kenya and Uganda really started catching up. We also had a lot of Kenyan artists come into Tanzania, work with different artists, because we already had that structure.
Once MTV Africa was launched (2005), Tanzania now had to compete with their more established counterparts, Nigeria and South Africa. At first, there was some level of doubt given that Tanzania was a Swahili-speaking country and had different cultures and governance to West or South Africa. This had folks like Mosha thinking about how their music would translate across the continent. But at the end of the day, good music and quality production can easily translate across cultures.
Seven: Because at that time we had like three video directors who did really good music videos for us, they had come back from the States. So our music videos were very savvy. So we had a lot of airtime at MTV Africa.
In 2010, Seven Mosha experienced another career change that led her to leave MTV Africa to pursue her artist management ambitions at her own label and management company, Rockstar 4000.
Jandre Louw, who led the Events & Production department at MTV Africa, asked her to join him on his next endeavor of starting a record label. At Rockstar 4000, Jandre focused on the events and productions part of the business while Seven took charge of the talent & music.
One of the artists that Seven managed at 4000 was the King of Bongo Flava, Alikiba. These two’s first time working together was during a 2010 music campaign for Airtel, the telecom giant covering a good portion of the continent. The success of this project fueled what later would become one of the most prolific partnerships in contemporary Tanzanian music history.
Seven Mosha and Alikiba (Photo: courtesy of Seven Mosha)
Not too long after that, there was a young and energetic Tanzanian artist on the rise taking the whole of East Africa by storm and even gained a feature from Davido for his hit track “Number One.” That artist was none other than Diamond Platnumz. Upon seeing this undeniable momentum from Diamond, Seven believed that this was the right time to revive the career of Alikiba who had been quiet for some time leaving a vacuum to be filled by emerging artists within the Tanzanian music industry.
Seven began managing Alikiba, bringing him back onto the scene amidst nonstop doubts from the media about her inability to resurrect Kiba’s music career. Even with all the noise, Seven believed that Kiba’s talent and loyal fanbase would be a recipe for success.
After his three year hiatus from the industry, Alikiba released his hit record “Mwana” in 2014 under the management of Seven. I vividly remember when this song came out, and there is not a single East African function I would attend where they were not blasting this record. Alikiba also released more hit tracks a year later, such as “Aje” and “Nagharamia.” Which helped to fully cement his return to the game and was proof of Seven’s ability to successfully market and develop an artist amidst tense competition and naysayers.
He later went on to win Best African Act at the 2016 MTV EMA Awards, and became the first East African artist to be signed by Sony Music Africa all in that same year. But Seven was not just satisfied with having her artist be named Best African Act, she believed they could capitalize on this title and exposure by commercializing Alikiba’s brand.
Being a student of the game, Seven closely followed and studied the career moves of entertainment industry titans like Ariel Emmanuel, Scooter Brown, Rich Paul and even Hip-Hop legend turned business mogul, 50 Cent, to learn how she could merge artist, brand and commerce together.
Seven: So I read up on them and [they] were just like, you know, you turn the artist into a business brand. And I was just like, okay, what kind of business? I remember that time I was so fed up knocking on multinational companies asking for product placements, asking for that. I was just like there's something wrong with this picture. They need to influence our people using our stars. So why don't we just create our own products?
So I was just like, we have to come up with our own brands. We have to take an artist, make him the face of our consumers. So lucky enough, I came across a gentleman who had the same vision, but on a different scale. He used to work at a multinational [beverage] company.
Seven Mosha (Photo: courtesy of Seven Mosha)
Through her connection with Siphiwe Shongwe, a South African with deep knowledge of the beverage industry, they came together in 2018 to start an energy drink where Alikiba would act as the face of the brand.
Seven: We launched an energy drink, MoFaya. The buzz on the ground was ridiculous, it was amazing. And since the competition was flying around, Diamond had released his groundnuts. I met with Siphiwe Shongwe and we talked about our passion. He wanted to create so many other products. The energy drink was number one. Carbonated drinks was number two. And then we move into other stuff.
Being that they were newcomers to the beverage industry in Tanzania, Seven and her business partners faced stiff competition in getting the drink off the ground. Challenges stemmed from supply chain issues, distribution disruptions, regulatory hurdles and later on the COVID pandemic which completely changed the nature of business operations. These various challenges were so powerful that Seven even seeked the assistance of the former President of Tanzania, Jakaya Kikwete.
While dealing with the difficulties that came with running a beverage company, Seven also had to deal with the loss of one of her close friends and mentor, Ruge Mutahaba, a titan in the Tanzanian Entertainment industry where he spent years as an executive at Clouds Media Group.
Seven: Losing Ruge for me was like, it was painful. It was painful. He was someone that we started off work with. He mentored me. He ignited the passion that I had over talent. He was honored well when he passed on, but I was just like, he gave so much to the [Tanzanian] entertainment industry. And what he got towards the end, they did do [him] justice, but he gave more, way more. Ruge, to me, had another title. He was one of the founders of our music.
Later in 2020, Seven was approached by Sony Music Africa to head the East African market.
Seven: I was tasked to handle Tanzania, Kenya, Uganda, Rwanda, Burundi, South Sudan, Eritrea, Somalia and sometimes a bit of the South, like Zambia, because they gravitate to East Africa music a lot. And I asked for DRC and Ethiopia as additional territories, those are the places that I manage. But eventually DRC was carved out to be handled by the Francophone [department].
There has been a lot of talk about the role of AI in the production of music or art within the entertainment industry. What, if any, kind of conversations are you and Sony Music Africa having about the role of AI in the African music landscape?
Seven: What we know so far is how it's affecting the West and how different organizations are reacting to it. But for Africa, I must say we haven't really latched on it yet. And from even a producer's point of view, because in Africa, the structure is just getting perfected in other countries, like let's say West and South Africa. The structure in South Africa has been there for a minute. But now is just the time that our music is crossing over and it's fresh and it's organic. That is, being accepted internationally. So I don't think even the artists or the producers would want to tamper with that.
Although Seven does not see AI playing a major role in the African music landscape in the near future, she did acknowledge that the technology could be effective in revamping old music material that have lost quality or use due to storage methods that didn’t maintain the original condition.
Abigail Chams (Photo: @abigail_chams/Instagram)
One of the artists under Sony Music Africa is a promising young Tanzanian artist named Abigail Chams. She recently released her EP 5, has an incredible voice, charisma and is versatile in her musicality as she also plays multiple instruments. What do you believe the future has in store for Abigail Chams? And is she the future of Tanzanian music?
Seven: When I got the Sony gig, the number one thing in my head was, “I'll prioritize female artists.” With the understanding of what it takes to be a female artist in the industry. I know how complicated it gets. So as a female, I would like to empower them and give them that chance. When I signed with Sony, she reached out to me and then I said, “okay.”
I was blown away by the talent, she had the drive and the ambition to be a perfect fit. I introduced her to Sony. So they liked her a lot. They saw the same thing I saw and then now we have a ‘developing’ contract with her, working with different kinds of producers, different kinds of songwriters and really expanding and understanding her music.
Do I think she's the one that will carry the music internationally? One-hundred percent. There are things that we need to work on as a territory to figure out what will take our music there. That involves culture as well, but at the same time, I think she has it in terms of personality, character, talent, drive, and passion.
Seven Mosha (Photo: courtesy of Seven Mosha)
You recently announced that BET and MTVBase Africa will be the official media partner of the Tanzanian Music Award, making it the first and only African country to have paramount media support from these two organizations. What will be the impact of this partnership on the exposure and growth of Tanzanian music?
Seven: In every single territory that I represent, they have their own areas that require a certain amount of development, for the music to be recognized internationally. The artists are doing a fantastic job on their own, but there's some sort of structure that needs to be in place for them to move towards.
Mosha’s quest to create a structure that will complement the growth of the local industry found her improving another staple within the country’s music scene; The Tanzania Music Awards, planned to take place on October 19th, 2024. This award show just like Alikiba had been dormant for some time, and Seven alongside her co-committee members saw this year as the right time to bring it back to life in a new fashion.
Seven: So we need to have an award show that compliments their brand. And we came up with a production house that will actually fit the brand. We're changing the logo, we're changing the trophy, everything from the look and feel to complement that stature.
This has also meant a total rehaul of the nomination process to include data gathering that can back up award nominees and winners, while also bringing on international media partners that can provide much needed global exposure of the award show.
Seven: And that's where MTV Africa and BET Africa come in. They'll come and pick their own content that they want and then package it in a 60 minute show and then air it. And to me that was just like giving Tanzania, not just the awards, but the music recognition outside of the country.
Seven Mosha (Photo: courtesy of Seven Mosha)
Beyond this, Seven has plans in the works to create a hub for Bongo Flava. This hub will exist via a dedicated website, museum and documentary. All of this work is a part of her mission to not only grow the genre, but tell the story of this art form to make sure that it's celebrated for generations to come.
Quite frankly, Seven Mosha has carried on the baton of her mentor, Ruge, in becoming an influential shaper of industry. When the history of Bongo Flava and Tanzanian music is written, Seven deserves an entire chapter dedicated to the storied impact that she has had on the sector. She’s not an executive who settles for good enough but requires business and artistic passion to work in tandem with another. Her relentless pursuit of excellence, success and progress is what the East African market needs more than ever. Seven has a vision that sees far beyond the shores of the Indian ocean in hopes of creating an impact that connects cultures and commerce one song at a time.
Afrobeats has exploded from its roots in West Africa to become a global phenomenon, filling dance floors and playlists around the world. But as big as Afrobeats has become, it feels like it could grow even further—especially when it comes to storytelling and visual representation. And that's where Afrosurrealism might come into play.
Understanding Afrosurrealism
Afrosurrealism is an art movement that combines the real and the surreal to highlight the experiences of Black people. Unlike traditional surrealism, which often focuses on dreams and the subconscious, Afrosurrealismis grounded in everyday life. It shines a light on the strange and sometimes absurd aspects of these experiences. The term was made popular by writer D. Scot Miller in his "Afro-surreal Manifesto" describing it as a way to uncover hidden truths in Black culture. With mystical and metaphorical elements, Afrosurrealism tells stories that are both real and otherworldly.
The Current State of Afrobeats: Identity and Reality
Afrobeats artists have always explored themes of identity, culture, and reality in their music. The pioneer of Afrobeats, Fela Anikulapo Kuti, being a prime example, his songs often touched on personal experiences, societal issues, the complexities of African life and struggle for freedom.
Fast forward to today, and you’ll find artists like Falz doing something similar. His track "This Is Nigeria," a powerful take on Childish Gambino's "This Is America," calls out corruption, religious hypocrisy, and other pressing issues in Nigeria. The song’s music video is just as impactful, giving a raw, unfiltered look at the Nigeria’s reality.
The Need for Enhanced Storytelling and Visuals
While we have some great examples, there’s room for more Afrobeats artists to take this approach. Music alone can be powerful, but visuals add a whole new dimension. A picture speaks a thousand words, a 3 min track speaks an average of 450 words. As visual beings; images resonate with us, they stay in our minds, and they can evoke emotions that words alone sometimes can't.
Through powerful visuals and storytelling, artists can immerse audiences in their world. It's about more than just feel-good beats; it's about sharing stories that shed light on real-life issues and help foster understanding across cultures. By blending Afrosurrealism into their music and visuals, Afrobeats artists can bring out the paradoxes of modern African life, challenge stereotypes, and invite listeners to think more deeply.
So, how can Afrobeats artists effectively blend Afrosurrealism into their music and visuals?
Bold Storytelling: Artists can create narratives that mix reality with surreal elements. This might mean weaving in folklore, myths, or fantastical scenes that represent real-world issues. It’s a way to make the stories both engaging and thought-provoking.
Innovative Music Videos: Visual representation is key. Music videos that utilize Afrosurrealistic techniques—such as symbolic imagery, unconventional settings, and dreamlike sequences—can enhance the song's message. These visuals push viewers to look beyond the surface and think more about the content.
Address Societal Issues: Artists have a platform, and they can make a difference by spotlighting important topics. By framing these issues with an Afrosurrealistic lens, they can reveal complexities that might otherwise go unnoticed.
Why Combine Afrosurrealism with Afrobeats?
Mixing Afrosurrealism with Afrobeats could add new layers of meaning to the music. It invites listeners to go beyond just enjoying the beats and engage with the messages on a deeper level. This fusion also helps break down stereotypes about African music and shows that African artists can create art that’s not only entertaining but thought-provoking.
The time could not be more ripe for Afrobeats artists to push the envelope. The world is watching, we have the stage and there's a hunger for authentic stories and fresh perspectives. By bringing Afrosurrealism into their work, Afrobeats artists have a chance to offer something unique—art that entertains, yes, but also enlightens. We need music that challenges us, that makes us reflect on our own realities and the realities of others. Afrobeats has the platform and influence to make that happen.
In embracing Afrosurrealism, we invite the world to see beyond the surface, to understand our realities, and to connect with us on a deeper level. It's time for Afrobeats to not only make us dance but also make us think, feel, and truly see.
"If love itself were to write you a letter according to your life's experience of different forms of love, what would that look like?"
This is the question Shae Universes poses and explores throughout Love's Letter. The album, which is a follow-up to her EP Unorthodox, takes a more conceptual approach as she delves into the ten-track album, exploring various forms of love through a timeline of a relationship that takes place throughout the album.
Starting with "Love Self," which features words spoken by her mother, and ending with the self-reflective track "Sincerely," the tracks in between take you on a journey that touches on the complexities of love, heartbreak, and self-discovery. Every song offers insight and reflections on love, creating a profoundly intimate and relatable listening experience. The themes explored in the album are not just personal to Shae, but they resonate with the experiences of many, making the listening experience even more profound.
The title poses a question explored when you listen to the album and are very intentional about what the project represents. "I decided to call it "Love's Letter", as opposed to "Love Letter" or "Love Letters", because this project is meant to tell a story of love itself. It touches on many different types of love, whether romantic, self-love, or God's love, and it's essentially supposed to make the listener think or reflect." Its title and lyrical content achieve the goal as you listen from top to bottom. It brings out a lot of various feelings and emotions, which make one think about and asses the topic of love in its various forms.
With the album as a whole and everything that has transpired from this era, one that comes across in everything from how it came together to the track listing and everything in between is the effortlessness and how it all came to be. Its inception did not happen until the creation of the track Oh Wait…. "Because the process organically started, and I only realized, after I'd created, "Oh, Wait…" that this is telling a story. That's when I realized these songs are cohesive, and it started to make sense." Painted against the background of a relationship in its demise, it was more about documenting the emotions and experiences that took place during its time of writing—contributing to the project's resonance, which has found relatability to those who have been able to listen to and connect with the album. "I was going through certain things in my relationship and creating music about them then. Because just like anything—relationships, life—it's not premeditated; you just go through it. Things happen. You find yourself in positions or situations you didn't anticipate, and then you must navigate from that situation or that position."
The letters written throughout the album are ones of self-discovery, growth, empowerment, and adoration with aspects of toxicity, forgiveness, self-doubt and insecurities, which paint an actual reality of what love can be and encompasses. However, you get a deeper understanding of her artistry and the personal evolution and transformation that has taken place from where we begin to where we end. As we gather on set for the cover shoot, it feels like a different Shae Universe is standing before us. Throughout the variety of looks she embodies, there is an overall aura of a superstar emerging. Not that this is anything to be surprised by. The evolution throughout her lyrical and sonic abilities on the album is one thing; however, that same evolution is also present from where she is in her career. Having been independent until now, she signed a deal that allowed her to distribute in the US and was part of the next stage of her career, evident in all that has transpired since the album's release.
This has been apparent to her, and she is not lost in the journey to get to this point. "As I've evolved in my career, I've noticed significant personal growth. Many things that were once dreams are now part of my everyday life." The reality of what this looks like is both exciting and somewhat overwhelming regarding the expectations, and what she feels is just the beginning. "It can also be daunting sometimes, even after all this work that I've put in and even after all the growth that I've seen getting to this point, sometimes I feel like I'm still only scratching the surface". The conversation of being underrated has surrounded Shae ever since she came onto the music scene. However, since the early beginnings, there's never been a doubt that she would always be somebody to look out for. Arriving at this stage and thinking about all the events that have led up to this moment, gratitude is the feeling that stands out to her from the process. "I'm filled with gratitude when I look back and see the growth I've experienced. It's also a blessing to have others recognize and appreciate this growth. This sense of gratitude is something I carry with me every day."
There is no doubt that 2024 will be one for the books in terms of where she currently is on that journey to superstardom. "Every artist is waiting for the breakthrough moment, and things begin from that moment, so all the work you've put in before that point serves as preparation. But then, once you break through and become a global star, you are in front of the world. That is like the start of a whole, completely different journey. "This journey being one that feels like she is on the cusp of reaching, with the album and all that has followed since, is only one part of the puzzle of the overall picture. Since its release in February, she has travelled all over the world, spending a lot of time in the US building her profile and achieving things such as playing a stellar Tiny Desk performance, which is not only a moment for her but for UK R&B in general and can only be described as an "A major milestone I can never forget." Not to mention playing the bill as the only UK artist at DLT's debut R&B The Recipe festival, joining the likes of Jazmine Sullivan, SiR, Alex Isley, Destin Conrad and Tone Sith, to name a few. Not stopping there, she is also embarking on her first headline tour, which will see her play shows across the UK, dates in Paris and Amsterdam, and one can only predict that the US will follow shortly.
This accession has seemingly been a seamless journey, looking at everything outwardly without knowing the realities. The realities of navigating the industry until this point have been another thing on its own. Having been an independent artist who, at one point, was self-managing herself, I have faced a lot of hurdles and obstacles to get to this point. The struggles of being understood, being seen for who you are, discerning trust, and navigating politics and relationships have been a part of her journey and not something easy to navigate. "Having a certain level of awareness can be draining, having to be constantly on guard. It takes a lot, and that's something that I've struggled with the most." Having to navigate things like who to trust and being more aware of people in new environments can cause one to be sheltered and become weary when engaging with others and navigating the new realities of life.
An important part of remaining on course and staying true to her journey comes from her faith. Her understanding and relationship with God carry her through most of the challenges she has been through and allow her to reach this point and understand the greater meaning and purpose of her singing gift. "My belief system is that this gift of singing that I have was given to me by God. I have an assignment with this gift to help the world." Through being a voice for people who cannot communicate or articulate their emotions in the way that happens so easily for her. The album perfectly displays how that is so clear for her in all that she can put through in the music. "It's rewarding to see the people whose lives you impact and the people whose lives you help. Because, again, music is a very spiritual thing. I feel like music is the timestamp of our lives, which is why people get so attached to certain songs because they remember a time in their life when they were, what they were doing, or how they felt, and to me, it just makes me realize that my music is a lot deeper than just me."
The chapter about this album and how it has arrived at this point in her life, not just in her career and artistically but also personally, is one of her most significant life-changing moments. Before reaching the end of the conversation, I enquire about how this shift has presented itself to her, thinking about all that has taken place and how the previous version of Shae before Love's Letter differs from the one after. Before answering me, there is a pause, and the question prompts certain realizations as she reflects. "The difference between Shae, who wrote Love's Letter about all her experiences, is that Shae was quite sad. As you can tell from the songs I was writing and the things I was going through. I was also pretty unsure of myself because the journey speaks about returning to love, self-assurance and being sure of who you are, but in return, you have to lose yourself first. You have to stray far from what feels like home or what feels familiar and get into unfamiliar territories to return to what you know is your truth and what resonates with you." There's an acknowledgement of feeling lost during that journey and that although from that time came the music she was able to share with the world, a lot had to take place before getting that to that point.
Expanding this further, the album's impact on her life is also pivotal in more ways than one. "The album is a pivotal point in my life for my growth as a woman, coming into myself again, learning, relearning myself, and unlearning all the unhealthy, negative things that I may have picked up knowingly and unknowingly." If one hasn't noticed or couldn't tell, there is a confidence that oozes through and was very much present on set while the shoot took place. This can also be attributed to the album and what it has done for Shae overall as a person. "Love's Letter gave me an unshakable level of self-assurance. I know that there is always room for improvement. But who I am at my core, I'm sure of now, and that wasn't the case before I knew exactly who I was."
This is a core part of getting to the next level of her career. At the end of the day, as artists chasing this dream who want to become the next global star. A key part of that is knowing yourself in an unshakable manner before you graduate to that point. The revelation that all these things have been part of the preparation, along with all the experiences of feeling disheartened and other hurdles that have been faced, is critical. And now, as the end of the year creeps upon us with an upcoming tour and the overall reflection of the Love's Letter era, I ask what the highlight has been, and to no surprise, it's the growth. "My growth as a person, outside of the music. The woman I'm walking into is one of confidence and fun. I want this next phase of my life to be the most fun era. I'm tired of struggling, crying, and being heartbroken. That is not my story anymore. I want to be a young, confident, sexy woman living her best life, being as present in every experience as possible, and experiencing new, exciting, once-in-a-lifetime things. That is what the next era of my life will be filled with, and that's what my music will be filled with because it will reflect this new calibre of life I'm now being exposed to."
Creative Director & Photographer: Karis Beaumont - @karisbeau
Producer: Seneo Mwamba - @seneomwamba
MUA: Dalila Bone - @Dalila_mua
Lighting Tech: Alex José - @alexjose.photo
Photographers assistant: Bella Bujosa-ArmoraStylist: Alaba Nwanya - @thenaturalhairwhisperer
Design: @deeds.studio (@shalemalone&@dianeadanna)
Nail Artist: Naomi Richards - @naysap_
Journalist: Seneo Mwamba - @seneomwamba
Studio: Blankbox Studios - @blankboxstudio
Ayodeji Ibrahim Balogun, globally known as Wizkid, is set to drop his highly anticipated Album, "Morayo". Till date, Wizkid has released five studio albums, each marking a different era in his career.
Following the recent passing of his mother, Wizkid entered a period of mourning and silence. Emerging from this difficult time, he has embodied a refreshed persona. From being close to radio silence on his X account, Wizkid has become much more active on social media, showing a more publicly engaging side. We are certainly seeing a new dimension of Wizkid, and it's intriguing to wonder how all of this has influenced his upcoming album, "Morayo."
In anticipation of "Morayo", Wizkid has unveiled four snippets that have set the music community crazy already. The previews, shared are:
In the run-up to Morayo, Wizkid has teased fans with four snippets that have the music community buzzing. Wizkid shared these previews in an exclusive session with DJ Tunez, at his London Listening Party. The tracks previewed:
In addition to these snippets, Wizkid has stirred up plenty on X (formerly Twitter), with some fiery comments aimed at Davido, sparking a fresh wave of their long-standing rivalry with posts that were quick to go viral. This has some fans speculating whether this is part of his strategy to generate hype or simply an ongoing feud. Whatever may be the actual motive, by stirring controversy and sparking fan conversations, Wizkid has managed to keep the spotlight squarely on himself and his upcoming release. His recent listening party in London only added to the anticipation. “Morayo” is coming and we can’t wait to witness this masterpiece.
The much-anticipated debut album from Oxlade, "Oxlade From Africa", is finally here, and it delivers beyond expectations. Right from the onset, the album sets a profound tone with "D PTSD Interlude", a powerful segment that talks about the trauma faced by Oxlade and his manager, Ojahbee, during the 2020 End SARS protests against police brutality in Nigeria. The interlude features a charge from Ugandan activist Bobi Wine, urging African youth to stand up against all forms of brutality. This powerful introduction reflects the collective issues faced by the African youth, setting a meaningful foundation for the album.
The mood changes on the next track, "Olaitan-Olaoluwa"—a track derived from Oxlade's real name, Ikuforiji Olaitan Abdulrahman— which translates to "wealth is endless, the wealth of God." Here, Oxlade speaks on the blessings in his life, reminding us of his journey and identity. We are instantly reminded of his signature vocals, which we've come to love from hits like Ku Lo Sa.
The album is packed with meaningful collaborations, showcasing a variety of features that add depth and diversity to the project. "Blessed" featuring Popcaan is an instant hit, blending Oxlade's smooth melodies with Popcaan's distinctive style to create a track that's not only reflective, but also easy to vibe to.
Fans will recognize familiar tracks like "Intoxicated" featuring Dave and "Ku Lo Sa," which were released prior to the album drop. These hits fit seamlessly into the album,and are worthy additions to his debut album.
True to its title, "Oxlade From Africa" is a celebration of the continent's rich musical talent. Oxlade collaborates with well-versed artists from all corners of Africa, making this truly an album born out of the motherland. On "IFA," he teams up with legendary Congolese singer Fally Ipupa to produce another club banger that's sure to get you grooving.
Known for his loverboy persona, Oxlade doesn't shy away from romance on this album. "OVAMI" featuring Flavour is a sweet melody where Oxlade professes his emotions to his woman. Flavour's verse is the perfect feature, making this song a match made in heaven. It's the kind of track that'll make your lover's heart swell if you serenade them with it.
The "Tamuno Interlude" adds another layer of cultural depth, featuring traditional chants from Africa.
One of the standout moments is "Asunasa," where Oxlade joins forces with Wande Coal. They sample Wande Coal's classic "Allow Me To Feel Your Hands," and the result is nothing short of spectacular. It's a meeting of two masters of melody, and their synergy is such a vibe. If you've ever wondered what it sounds like when such talents collaborate, this track is your answer.
Oxlade continues to bring heavyweight features with "Ololufe" alongside Ghanaian superstar Sarkodie. The song seamlessly blends their unique styles, creating a cross-border hit sure to get the clubs in Accra and Lagos vibing. On "RMF," Oxlade delivers a bold and unapologetic anthem about success and the trappings that come with it.
"On My Mind" featuring Tomi Owó and Ojahbee is a soft melody that provides a soothing contrast to some of the more high-energy tracks.
The album closes with the track "OFA" (Oxlade From Africa). In this song, Oxlade reflects on his journey. It's a heartfelt conclusion that brings the album full circle, leaving listeners with a profound sense of who Oxlade is—one of one, one pea in a pod, Oxlade From AFrica.
"Oxlade From Africa" is more than just a collection of songs; it’s a narrative of Oxlade’s life, his experiences as both a lover and a fighter. From the powerful opening address police brutality and his personal traumas during the End SARS protests, to overcoming media and industry obstacles, Oxlade has consistently fought against the odds to share his music with the world. His journey reflects the struggles and triumphs of many African youth, which resonates with many of his listeners who may have faced similar challenges in their own sphere of life. This artist from AFrica is just getting started, and his debut album is a bold statement of what’s yet to come!
After a year-long sojourn into the depths of their minds, TUNTU and SIMSIMSOSA emerge with a groundbreaking opus, "0's & 1's". A sonic and visual odyssey, it’s an invitation to question the very fabric of existence. Have you ever stared into the digital abyss and wondered if it’s staring back? Pondered the intricate dance of particles that compose our world? Or perhaps felt the weight of circumstance on communities marginalised by society?
"0's & 1's" is an audacious exploration of these questions and more. It’s a mind-bending journey through the realms of simulation theory and quantum physics, intertwined with the raw realities of life’s challenges. This isn’t merely music; it’s a catalyst for thought, a challenge to perception. The accompanying music video, a visual masterpiece crafted by award-winning, multifaceted creative artist Oliver Asadi, is a portal into a universe where the digital and physical collide in breathtaking harmony. It’s a world where shadows dance with light, and questions find form. Are you ready to decode the matrix? To quantum leap into a new perspective? To feel the pulse of a community yearning for change? Then "0's & 1's" is your destination.
ABOUT SIMSIMSOSA:
SIMSIMSOSA is the epitome of UK Rap's raw authenticity. With a blend of finesse, he's been crafting sonic landscapes since his debut conceptual EP, Demi-God in 2018, leaving listeners spellbound with his lyricism and captivating storytelling. His track The Void skyrocketed to the top 50 tracks of BBC Introducing Sheffield in 2022, proving that his sound knows no bounds. Hitting the scene with an unapologetic sound, SIMSIMSOSA's journey hit a new milestone with his 2023 mixtape HOOLIGAN solidifying his status as a force to be reckoned with in the UK Rap circuit.
From the shadows of Leeds & Sheffield to the forefront of the UK Rap renaissance, SIMSIMSOSA is carving his legacy with every verse, weaving tales of resilience, ambition, and the unyielding spirit of the streets. Enter his world.
ABOUT TUNTU:
TUNTU, is a verbal healer. From the heart of Africa to the streets of England, TUNTU is known for his intricate story-telling through rap and it’s no wonder why as he was inspired by the gurus of music.
TUNTU brings such a unique and diverse sound to the UK music stage with his unorthodox delivery and his enchanting vocal range. He dives deep in topics of political propaganda, spirituality, taboos and mental health throughout his generation.
He first appeared in the music scene with his release of Pro-Illusion an unusual but intriguing melodic spoken-word with a coded tittle that stands for Pollution. This song came with a striking visual that certainly had his audience wanting more.
During the composition of Vent Session, TUNTU started his own independent record label in early 2020 named Unapologetic Music. TUNTU put forth an avenue to release his own music. The label currently houses TUNTU himself and SIMSIMSOSA, who TUNTU sees as an influential and inspiring
In recent times, West and South African music and culture has flirted with the lofty heights of global success. East African music has been the sideline-watching region brewing and yielding a takeover that is inevitable. While stars such as Sofiya Nzau, hitmaker of the viral hit song “Mwaki” have become stars in their own right, East Africa and Kenya specifically has been a country waiting to seize its opportunity to offer its voice to Africa’s diverse community of artists.
In today’s article, Olawale Olaiya and Alfayo Onyango sit with two Hip Hop tastemakers Dr. Reign and Asum Garvey who teamed up to release their debut joint effort ‘Awesum Reign: The Stance’ - a chivalric and imperative statement from the Hip Hop community on various topics. From the country’s socio-political landscape “It reflected on things many Africans go through with their leadership and we felt that African artists haven’t been walking loudly enough about the impunity and poor leadership we face as a country and continent. It was recorded in late 2023 and the message is relevant to this day” Dr. Reign, a paediatrician that dabbles in music as a passion tells Deeds Magazine.
“Funny thing is the song was recorded last year but it was somewhat a prophetic song. With the ongoing protests it was just perfect timing for its release as everything aligned. Goes to show how much the politics never quite changes much” Asum Garvey shares with Deeds Magazine.
The project is also a fun-filled record that has Afro-Drill elements while possessing racey records such as “Run It Up” and more. Check out the chat below.
DEEDS: Your journey from medicine (pediatric) to hip-hop is quite unconventional. Can you walk us through how that transition happened? What inspired you to pursue rap alongside your medical career?
Reign: I always tell people that before I became a doctor I was a rapper. I started out as a freestyle and battle rap emcee when I was 15 years old. Winning my first Sprite rap competition at 16 in Botswana. At 17 I went to pursue medicine in Russia and as fate would have it I continued to pursue rap and slowly grew into a Hip Hop artist whilst pursuing a medical degree. Since coming back to Kenya and practicing it’s been a bit of a challenge balancing the two but since I got my Masters of Medicine in Paediatrics and a long hiatus I felt it’s time to get back to my first passion which is Hip Hop.
DEEDS: How did you come up with the name Dr. Reign? Is there a story behind it, and does it reflect your dual identity as both a pediatrician and a rapper?
Reign: My artist name was B-Reign, I ditched the B and put Dr to it once I became a doctor as affirmation and to represent change and transformation.
DEEDS: Asum, your work ethic is relentless. How do you balance between mixing and mastering as well as your rap career?
Asum: I made sure my job is in line with my career. As I sharpen my engineering skills, Asum is winning because his sound also evolves with working with artists of all styles. They feed each other and I feel that’s balanced enough.
DEEDS: What was the creative process like for this joint album? How did both of you write together, or did you each bring your own ideas to the table?
Reign: The first record we recorded was “Run It Up,” which was initially supposed to be my comeback single and Asum was actually just sound engineer at the time. As I recorded the verses and hook I could see Asum writing something down so I could tell he was in the zone. Told him if he’s feeling it he should jump on it. Immediately, it felt right. We then started exchanging ideas, locked in the studio and the rest is history.Asum: Some songs were ideas that we brought in in terms of the hooks but all the music was written and recorded in the studio together with the features.
DEEDS: The album blends two distinct voices—Dr. Reign and Garvey’s. How did you strike a balance between your different styles, and what themes or messages are central to the project?
Reign: My style is very NYC and Southern African Hip Hop influenced and Asum Garvey is more in tune with the urban and Shrap scene. I felt it would be great blend of bringing the both worlds together to deliver an authentic Afro Hip Hop album. The messages revolved around what we were both going through at the time as individuals and Kenyans. A message that resonates in most African settings. We opted to be authentic and not go with what’s currently trending. The album was inspired by Hip Hop at 50 years and how it’s been an Awesome Reign of Hip Hop in the past half century. Asum: The balance was easy as we’re both Hiphop heads. The main theme is sociopolitical issues in society.
DEEDS: Speak to records like “Out My Melanin” that spoke on social issues during the protests in Kenya against the finance bill and government?
Reign: “Out my Melanin” came to life after a 2-3 hour conversation we had with Asum in the studio. It reflected on things many Africans go through with their leadership and we felt that African artists haven’t been walking loudly enough about the impunity and poor leadership we face as a country and continent. It was recorded in late 2023 and the message is relevant to this day. Asum: Funny thing is the song was recorded last year but it was somewhat a prophetic song. With the ongoing protests it was just perfect timing for its release as everything aligned. Goes to show how much the politics never quite changes much.
DEEDS: What records stand out to you the most and what about them evokes you as an artist and person?
Reign: Out My MELANIN is special because it was almost prophetic. Run It Up because if we didn’t record it the way we did we probably wouldn’t have an album.
Asum: Wagwan for its high energy, Simba for uplifting and Run it up for the bars and essence of rap.
DEEDS: Kenya’s hip-hop scene is rapidly evolving. How do you see your role in shaping the sound and identity of Kenyan rap, especially as someone who comes from such a different professional background , and Asum as a seasoned vet but with a fresh take on the game?
Evolution is part of life and like all life forms we must evolve. Hip Hop has evolved in Africa. We are integrating it in Amapiano, Shrap, Afro-Drill, Arbantone etc. I represent the basics and foundation of Hip Hop which is important to have so that you can evolve into other sub genres. Asum: I’m all for evolving the music to the time while still acknowledging the history of it. Mine is to encourage thinking out of the box.
DEEDS: What message do you hope listeners take away from this collaborative project, both in terms of the music itself and the story behind it?
Reign: Be unapologetically you. Being authentic is your niche. Asum: Do what you love, block away the unnecessary noise and never be afraid to make the music you love.
DEEDS: Looking ahead, do you have plans for more joint projects together or with other Kenyan artists? What’s next for both of you in the music world?
Reign: We definitely have more music to share as Awesum Reign. Expect more collaborations and singles from Reign with other artists as well.
DEEDS: Lastly, what advice would you give to young Kenyans who might want to pursue unconventional paths, blending different careers like you have as a pediatrician and rap?
Reign: Do what you love and don’t let them box you in. A profession can be in music and can be in medicine or engineering. Music is a long game, patience and perseverance.
Asum: Be bold and do what you love but be open to new ideas.
Fireboy DML’s latest album, Adedamola, named after his birth name, is a rich blend of Afropop, R&B, and soulful melodies that feel both familiar and comforting. The album showcases Fireboy’s signature sound, delivering smooth, heartfelt tunes that resonate deeply with fans of romantic Afrobeats.
IseOluwa: A Spiritual Opening
The album opens with "IseOluwa," a track that sets a reflective tone with its theme of gratitude and faith. The line “IseOluwa ko seni to ye,” meaning "God works in mysterious ways," offers a spiritual touch that mirrors the introspective moods seen in recent releases from other YBNL artists like Asake and Olamide. This spiritual undertone enriches the album’s context, making it more than just a collection of love songs.
Fireboy's Lover Boy Persona Returns
After the soulful beginning, Fireboy quickly returns to his familiar romantic persona with the track "Call." This song is a smooth and catchy love anthem that ushers in a recurring theme throughout the album. His signature style— a blend of R&B with Afropop rhythms—shines in songs like "Ecstasy," which features Seun Kuti. The trumpet performance by Seun Kuti elevates the track, taking listeners to euphoric levels, truly embodying the song’s name. Ecstasy is a perfect addition to any romantic or "chill vibes" playlist.
Star-Studded Collaborations
Fireboy taps into a wealth of musical talent for his features, collaborating with artists who share his romantic inclinations. On "Back and Forth," Fireboy teams up with the legendary Lagbaja, whose trumpet and saxophone solos add depth to the track. This collaboration delivers a unique fusion of sounds, creating a song that’s irresistible and joyful.
International collaborations shine on Adedamola as well. Jon Batiste features on "Ready," a beautifully produced track where Batiste’s piano skills and Fireboy’s vocals blend harmoniously. The two reconnect later on "Jon’s Interlude," a piano-led closer that brings the album to a serene, soulful conclusion. It’s a graceful ending to an album filled with emotion and rich instrumentation.
A Nod to Afrobeats Legends
Fireboy pays homage to Afrobeats legends with "Wande’s Bop," featuring DJ Spinall. This track is a high-energy tribute to Wande Coal, evoking the classic Mushin 2 Mo’Hits era. The infectious rhythm and nostalgic sound make it an instant favorite for fans of classic Nigerian Afrobeats.
Adedamola keeps the momentum going with tracks like "Change Your Life," produced by Semzi and Bassiqally. This catchy, upbeat track is bound to get listeners moving, showcasing Fireboy’s ability to shift between romantic serenades and danceable Afropop bangers effortlessly.
The Heart of Fireboy
True to his core, Fireboy’s romantic essence shines brightly in tracks like "Obaa Sima," "Need Me," and "Everyday." These love songs are quintessential Fireboy—full of smooth melodies and lyrics that speak to the heart. Each song feels like a personal serenade, reminding listeners why Fireboy is celebrated for his ability to capture the complexities of love in his music.
A Satisfying Conclusion
The album concludes with "Jon’s Interlude," a gentle, piano-driven track that leaves listeners with a sense of contentment. Fireboy may not have taken many risks with Adedamola, but he has crafted a body of work that feels satisfying in its simplicity. This is an album for those who appreciate the soothing melodies of Afropop and the heartfelt touch of R&B. Adedamola is a testament to Fireboy’s consistency as a top-tier Nigerian artist, blending romance, spirituality, and rhythm in a way that feels effortless yet impactful.
UK rapper Pa Salieu is back stronger than ever after his release from prison on September 3, following a 33-month sentence in 2022 for violent disorder. He wasted no time returning to his craft. We see a glimpse of this in episode 6 of Afrikan Rebel Diaries, released on September 5, in this episode, fans get to see a brief glimpse into his post-prison life—showing him coming home, picking up an AP watch, and heading straight to the studio—wasting no time!. Proving his determination to reclaim his place in the UK rap scene. Just days later, on September 6, he released his new track, "Belly," signaling that he is locked in for a fresh chapter.
Salieu’s comeback single "Belly" opens with the line, "I’ve been gone for a while, but I still make it back to you," a subtle nod to his time away. Produced by Felix Joseph and AOD, the track showcases his signature blend of drill, Afrobeats, and UK rap, with smooth production that shifts to intense basslines as the song progresses. "Belly" feels like a continuation of the sound introduced in his debut project, Send Them to Coventry. Pa Salieu maintains the raw storytelling style that sets him apart, balancing vulnerability with hard-hitting bars.
Pa Salieu’s return from prison is more than just a personal victory. It marks a significant moment in his career. His music often reflects his own life, growing up in Coventry as a first-generation Gambian-British man, and "Belly" continues in that tradition. The song represents not just a comeback, but also his readiness to push forward, taking lessons from his past while preparing for the future. Upon his release, Pa Salieu posted on social media, echoing the same sentiments as his lyrics in "Belly," reassuring fans that he is back and ready to reclaim his space in the industry.
The sixth episode of Afrikan Rebel Diaries further cements Salieu's comeback narrative. Filmed in a documentary style, the episode captures key moments post-prison—Salieu reconnecting with family, celebrating his freedom, and immediately returning to work. It highlights his relentless work ethic and commitment to making up for lost time. The episode symbolizes a rebirth, showing an artist who is locked in and ready to embrace his future.
With the release of Belly and episode 6 Afrikan Rebel Diaries, Pa Salieu proves that he’s not only back but with a purpose. His resilience and unorthodox style position him as one of the most exciting voices in UK rap. The message is clear: Pa Salieu is locked in, and this is just the beginning of his comeback.
His fans are undoubtedly waiting for what's next, and if Belly is any indication, Pa Salieu’s fans are in for a feast.
I have had multuiple discussions with people on why they did or did not enjoy a party and everytime i get the same answer most times, “this place is dead” and in a lot of cases i agree.
One thing about people is they love to dance, regardless of if they can or can’t, trust me no serious person is going to a party to stare at the next person, they came there for a reason.
Bringing people to a party is one thing, keeping them there is another and that’s the job of a DJ. Music has the power to create an energy that can move a person so definitely it can move a crowd, for research purposes you can play ozeba in a random gathering of friends and see the effect it has.
A lot of the time i’ve seen parties fail not because the DJ doesn’t know what they’re doing, to be a DJ takes a lot of skill and practice i know but the most crucial part of it is understanding who they want to entertain, know your crowd. Recently i went to an event and kukere was mixed with who run the world, in a crowd of people that looked utterly offended by the choice of music, someone made a comment “can this DJ learn another craft”, it obviously didn’t fly with that crowd, definitely it wouldve entertained another crowd, that has nothing to do with the DJ’s actual skill but has everything to do with understanding who you’re playing it for, i think a good DJ should be able to read the room and know when its okay to change a song, no reason to continuosly play “all i do is win win win no matter what”.
Shout out to the DJs that keep us in parties, Soundgawd, Blessing Ewona, SixSeven, Sae the dj, obiciaga, young odi, chimira, fisayo, jade and many more DJ’s saving us at events, we love you.
June 3rd was an ordinary Monday across London except for the team assembled at 8 am in West London's Qube studios. Up bright and early and ready to shoot our latest cover star, the team gathered and prepped for the arrival of Dancehall and GRAMMY Nominated songstress Shenseea. Having delivered a sensational performance at the City Splash festival the previous weekend, she took a trip to Seychelles for another performance before flying back into London for a brief window, especially for our shoot.
As everybody knew, to say there was time pressure was an understatement. Yet in the moments of extended hair and makeup, three outfit changes, and the corresponding set changes, a calmness surrounded her as she arrived and left with eight minutes to shoot the final look.
The results captured three distinctive looks, each portraying a different facet of Shenseea. Her remarkable ability to adapt to each look and embody its unique vibe is a testament to her versatility. This adaptability, evident in her countless fashion looks over the years, is just one part of her artistry that she has displayed and evolved throughout her career. Her willingness to experiment and try something new has enabled her to sustain and thrive throughout her almost decade-long career.
Arriving at this point has been nothing short of hard work for Shenseea, who began her career in Jamaica and has grown into one of the biggest Dancehall artists from the Caribbean Island. Her ability to embrace and carry her heritage everywhere she goes has made her identifiable, catapulting her to international stardom across the globe.
Yet, when speaking to her a few weeks after the shoot when she is back in London again, it doesn't feel as if I am conversing with somebody I know to be one of the biggest Dancehall artists I know. Instead, the conversation naturally flows through various topics with a few laughs here and there. Throughout the conversation, there is a palpable humility that exists in terms of her artistry and her career thus far, along with all she has been able to achieve. This humility, a quality she has been able to hold through detaching herself from the pressures and titles around her name, is a refreshing aspect of her personality. Although she is very much aware of her musical impact and its effect on the Jamaican Dancehall scene, it's also something she doesn't pay too much attention to. "I try not to soak it in too much. I'm grateful because I told God I would love to be a global artist that people can relate to and enjoy worldwide. He has helped me carry out that task. However, I try not to soak it in because I don't want to get ahead of myself." Rather than staying complacent in her cultural status, it is more about her evolution and growth and how she can continue to do so in a way that keeps her going, "I'm always in a state of wanting to grow and to try to make an impact on new people. I don't dwell on what I already have. As grateful as I am, because I don't want to get lost in what I have, I want to constantly see myself as a person who needs work and who wants to put in work because I'm not where I want to be in life, and I don't ever want to get caught up because of how far I am in life."
One way in which she has been able to display this growth is evident in her musical offerings. From the beginning of her career, which began when she released her 2016 single 'Jiggle Jiggle' until her most recent release, one only has to listen to the catalogue she has accumulated to hear what that growth has been like. Never one should shy away from trying new things and experimenting beyond what one expects from dancehall and its traditional sounds; she has always been able to expand beyond and, in doing so, bring a uniqueness to her sound. 'Never Gets Late Here' displays this perfectly and is rooted in her ability to infuse multiple genres and intentionally sets out to capture global audiences in the way in which she touches on a variety of sounds, but also doing so in a way that makes sure that is still staying true to herself and what people know her for. "Even if I'm doing something new, I try to infuse myself in a way that ties to my culture, whether it be keywords, my accent or drums we use in Dancehall and Reggae. So, it still feels authentic, even if I'm trying to branch out into a different genre for others to enjoy. It's like a fusion, and it's something new.
Coming off the back of ALPHA, her 2022 debut album Never Gets Late, Here is an ascension in her career journey. The album itself is a sonic departure from its predecessor. It puts her at a level where you can see her global reach through her collaborations, ranging from Anitta, Coi Leray, Wizkid, Masicka, and Di Genius. The musical pallet infuses Afrobeats, R&B, and Pop, which still marry into her Shenseea-esqe vibe.
The album has something for everyone and, in so, seems very palatable across the board. Yet it is tied together in a way that makes sense for her in the current position she is in her career: "In every record I put on the album, I try to make it feel like me. Even if I'm mixing it with Reggaeton, Afrobeats, R&B, or Pop, you can still hear my accent, which will bring them back to Jamaica."
She acknowledges where this album stands in its place within her discography and how she is very much in the space of figuring things out and playing around with different sounds. And whilst people tend to place a lot of pressure on one's Sophomore album, she realizes that in the journey of things, it's what's coming next that she is looking forward to in terms of what's next for her musically. "Even while curating this album, I was still all over the place because I was dabbling in different genres then. I was still trying to find my niche. The third album will probably be the best one I will create because now I know the business behind the albums and what to put in it—no more of the overthinking I was doing on the first two. Now I see that it's not even that serious. It's still about enjoying and making great music and just having fun, most of all." Even though there are no current plans or anything towards said album, it is more of a prospect of what it will indicate for her and the place she is in. Taking all the lessons and experiences she has had over making the previous two, both of which came at different points in her career, the third one will continue in the vein of growth and evolution, which is something that stands strong to her. "My third album is even more exciting than the first two because I've been learning so much from them. The good thing is that I'm constantly evolving, and people see that's what's important to me."
The trajectory that has gotten Shenseea to arrive at this point in her career has not been without its challenges. There is an element of sacrifice that one has to go through when embarking on the path of being an artist, let alone being on the level she has reached. Between navigating one's personal experiences alongside the pressures and realities that come with the artist's life, there is a lot for one to reconcile with, and staying true to oneself is an important part of making it through all the challenges. The separation between business and creativity has a distinction and shows how she balances both. "The way I view things is more as half and half. You can't take anything too personally because it is a business. It has been hard having to hold back my true feelings because of the business. At the end of the day, we as artists are emotional, but we can't be too emotional because sometimes that does more damage than good and can ruin our reputation if we share our feelings. There is something within this that she has reconciled with, and it is evident in the way she carries herself, protecting herself from the emotional challenges that come with her reality.
On set, one thing evident as she had her breakfast and sat in her hair and makeup, getting ready for the shoot ahead, was the silence and calmness she stayed in as she read her bible. This gave her a continued stillness and calmness that followed her throughout the shoot. Speaking about this and finding peace amongst its chaos is a big part. "I do have my moments of meditation, and I give my thanks daily to God. However, I can also see how prideful and egotistical can destroy an artist and cause them to lose everything. So, I still try to remain humble. It is being able to stay true to yourself amidst the chaos." This is important, especially in the conversation of identity and what it means to be yourself and exist as a human being before anything. In addition to being an artist, the person exists; part of that identity is another part of what makes the artist. "My identity and who I am are also a part of how special I am, what people gravitate towards, and what they fall in love with; I don't want to rob them or myself of that and change myself into someone completely different because I don't have to."
This journey is of constant self-reflection and awareness, especially with all the changes and shifts. Not to mention the pressure that exists. There is something to be said about being the representative or viewed as a representative of a specific genre or culture that exists, which takes you beyond yourself. As anybody knows, the name Shenseea is synonymous with dancehall and Jamaican culture, and what it represents in terms of Jamaican and dancehall culture is very apparent whether or not you are into her music. So naturally, carrying that weight of pressure is something that is felt whether or not it's welcomed in the way that it aspects. Very often, a byproduct of the fact that you're creating art and expressing yourself comes with a sense of representing and speaking for a culture that people view you as, especially on a global scale and with social media that is only amplified to another level. However, getting to this point of this next phase of her career and looking to the future is about removing that pressure and those expectations. "I feel like people have been putting pressure on me, what I've done for Jamaica and the culture, and what I'm supposed to do for Jamaica and the culture. Now it's almost like I took that jacket off and been like an artist, and I just want to be an artist. I don't want to have this huge responsibility. For a long time, I tried to meet other people's expectations. And I don't want to do that anymore. I want to have fun."
Fun is the theme of the next chapter and the next phase of her career journey. Currently embarking on her first North American Tour with no plans of what the next single or anything musical will sound like, it's all about creative freedom, getting the chance to let go, not overthinking and holding onto things, and trusting that everything that is in store will only continue on the path of growth and elevation.
Creative Director & Photographer: Satori Cascoe - @toricascoe
Photography Assistant: Lana Obied - @interludelanna
Producer: Seneo Mwamba - @seneomwamba
Production Assistant: Tahirah Thomas - @tahirahtho
Movement Director: Anaïs Watson - @anaiswatson
Fashion Stylist: Jadzia Scott - @jadziascott_
Fashion Stylist assistants: Marilena Angelides - @lenaangelides, Yasmyn Ntege - @y.asmyn and Chrisleine Correia - @reiastyle
Project Manager: Zekaria Al-Bostani & Roderick Ejuetami - @zek.snaps & @deeds_art
Set Designer: Shania-Mae Wright - @shaniam00
Art Assistant: Davinia Clarke - @daviniadesigns
MUA: Marshayna Suban - @marshayna_
Hairstylist: Sheree-Jourdan - @x_sjourdan
Hair Assistant: Jaki Henry - @jakihenri
Gaffer: Alex José - @alexjose.photo
Lighting & Studio Asisstant: Tobi King - @tobikingsphoto
Design: @deeds.studio @dianeadanna
Studio: Qube West London - @weareqube
BTS Video: Shot by Faces - @shotbyfaces
Writer: Seneo Mwamba - @seneomwamba
Publicist: Aarti Popat @aartipopat @alwaysprotectedpublicity & Tammy Brook @tammybrook
Glam Products being used: MUA Brand: Charlotte Tilbury - @charlottetilbury
Hair Products: John Frieda- Curl Reviver Moouse, Avlon Keracare - Oil sheen & using Boho locs brand to refresh locs
Styling:
Look 1 - Bra: Claudia Pink @claudiapink Top and Skirt: Grete Henriette top @grete.henriette Choker: Shedean @shedeanjewelz_ Necklace: Shop the mood club @shopthemoodclub Earring: Claudia Pink @claudiapink Nose cuff: Stylist own @jadziascott_ Left side hand: Green and Gold cuffs: Dinosaur Designs @dinosaur_designs Silver Cuff: Claudia Pink @claudiapink Pinky ring: Dosisg6c @dosisjewelry Middle finger ring : mi manera @mimanera_jewelry Index finger ring : Shedean @shedeanjewelz_ Right side hand: Silver cuff : Claudia pink @claudiapink Gold Cuff : Dinosaur designs @dinosaur_designs Middle finger ring : dosisg6c, @dosisjewelry Index finger ring : Shedean @shedeanjewelz_ Pearl belt : Dosisg6c @dosisjewelry
Look 2 - Latex Dress and stockings by Elissa Poppy @elissapoppy Crochet Dress by Korlekie @korlekie
Look 3 - Custom Pierced Bodysuit : Cameron Hancock @cameronhancock.studio Dress : Ellis Jaz @ellis_jaz Jewelry : Mi Manera @mimanera_jewelryy
Meet TTO (born Tofunmi Tayo-Oyetibo). A versatile songwriter , afrofusion artist & sound engineer with strong R&B and hip-hop influences.
TTO grew up in Lagos, Nigeria and started making music as part of the duo under the name Inver$e in 2015. He fell in love with music at an early age but it wasn't until 2015 that he decided to take it seriously. He and his friends booked a studio session as a joke not realizing what would happen afterwards.
After recording his first single, the producer urged him to continue recording more music which motivated him.Describing TTO's sound isn't as straightforward. He started out as a rapper before eventually dabbling into multiple genres. He goes a little in depth and says "it's very hard to describe my sound when people ask me because I hate feeling boxed in. I have a lot of unreleased songs and they all sound different from each other. The top 3 genres l'd most likely use to describe my sound right now are Afro-fusion, Afro-pop and alternative rap."
TTO’s latest single “DIFFERENT” showcases his versatility as he continues to explore different sounds. Bringing you into his chaotic yet creative mind, a statement from him that he’s here to stay...
Wonu Osikoya’s docuseries, Grime, Glory & Afropop, provides a compelling narrative about the journey of Afrobeats and some of the key players usually behind the scenes who have shaped the genre into a global phenomenon. The series is a three-part exploration, each episode focusing on a different music executive who has left an indelible mark on the Nigerian and African music industry.
The career of prominent A&R executive and co-founder of The Plug, Bizzle Osikoya, is explored in the first episode of the series. As Naeto C's road manager at Storm Records, Bizzle's career in the music business got its start. His future jobs, including as his stint with Mo'Hits and later Mavin Records, where he refined his A&R management talents, were made possible by this early experience.
Bizzle's professional turning point came when he left Mavin to start The Plug. Following their split from Mavin, Bizzle lived briefly in America with Asa Asika and Sarz. They met Jay-Z's cousin Bee-High during this time, who gave them the idea to launch their own company. After following this advise, The Plug was founded and has been in business for seven year.
In this episode, Bizzle emphasizes the importance of young people understanding the business side of the music industry. He reflects on how the goal has evolved from merely making Afrobeats global to solidifying its presence on the global stage. Bizzle also draws attention to the way the industry has changed, with less hurdles to entrance, allowing up-and-coming talent to enter the market without the help of conventional gatekeepers.
The second episode focuses on the career of one of Nigeria's leading talent managers, Osagie Osarenkhoe. Osagie’s interest in music was sparked by watching MTV during her youth. This passion led her to study Mass Communication at the University of Lagos, a foundation that would later support her career in the music industry.
Osagie’s first foray into artist management was with Kell Ohia. However, her most notable early work was with Wizkid, whom she discovered as a teenager when he was just 18 years old. Their professional relationship lasted for five years, during which time Wizkid’s career began to take off. Osagie is currently the lead for OneRPM, a data-driven music business solutions provider.
Osagie discusses her joy at the Afrobeats movement's expansion and international acclaim in this episode. She offers insightful guidance for those who want to work in the music business, emphasising the need of knowing one's purpose and the necessity of ongoing education and adaptability. In a separate personal anecdote, Osagie says she likes to play FIFA during her free time.
The last episode provides insight into Asa Asika's career path in the music business. Asa was destined for a career in music because he was raised surrounded by it by his uncle Obi Asika, the founder of Storm Records. Although Asa's uncle had given him a lot of exposure early on, he was keen to establish his own reputation.
Asa began managing Davido in 2011 - 2013, a relationship that saw them part ways briefly before reuniting in December 2016. Together, they have navigated the complexities of the music industry, contributing significantly to the global rise of Afrobeats. Asa and Bizzle later merged their companies with the influence of Brain Biggs, forming The Plug, a company that has become a powerhouse in the industry.
The desire to leave a lasting legacy is what motivates Asa. He emphasises how crucial it is to keep up with industry trends because nobody can be an expert in a profession that is always changing. He gives aspiring musicians two pieces of advice: get as much information as you can and find a lawyer who knows the music industry. It is essential to know your rights if you want to make sure you are paid fairly and positioned appropriately in the industry.
At the end of the series, Wonu Osikoya shares her thoughts on why she started Grime, Glory & Afropop. She took inspiration from the people who spearheaded the Nigerian music industry, those who established the foundation and kept it moving forward. Her intention was to record their tales for the benefit of upcoming music industry generations as well as an homage to their accomplishments.
Grime, Glory & Afropop is a must-watch for anyone interested in the behind-the-scenes workings of the Afrobeats industry. This docuseries not only celebrates the achievements of its subjects but also provides valuable insights into the challenges and opportunities within the Global African music industry.
With its contagious rhythms and exuberant energy, Afrobeats has evolved from a specialised genre into a worldwide movement that is changing the face of modern music. What was once a regional way of expressing happiness, suffering, and everything in between has evolved into a global language that millions of people on different continents can understand. However, what does this now globally popular genre have in store for us in the future? The goal for Afrobeats in the future is to establish itself as a major force in the music industry, not just to stay relevant.
At its core, Afrobeats is a fusion of traditional African rhythms with modern sounds, creating a unique blend that resonates with diverse audiences. The genre's roots are deep, intertwined with the rich cultural tapestry of West Africa. Yet, its branches are ever-expanding, reaching into new territories and influencing other genres like hip-hop, pop, and even electronic dance music. The future of Afrobeats lies in this very ability to adapt and evolve while staying true to its origins.
The rise of artists like Tems , Wizkid, Burna Boy, Rema and Asake has catapulted Afrobeats onto the international stage. These trailblazers have collaborated with global superstars, topped charts, and bagged Grammy nominations, proving that the genre's appeal is universal. But it's not just about individual success—it's about a cultural shift. Afrobeats' infectious rhythms and feel-good vibes have found their way into mainstream pop, influencing artists far beyond the African continent. From Drake to Beyoncé, major players in the music industry are incorporating Afrobeats elements into their sound, recognizing its power to move both bodies and souls.
As we look ahead, one thing is certain: the artists leading the Afrobeats charge are not merely riding a wave—they are creating it. Figures like Burna Boy, Wizkid, and Davido have already proven that Afrobeats can not only compete on the global stage but also set new standards. Burna Boy’s Grammy win for Twice as Tall in 2020 marked a historic moment, not just for him, but for Afrobeats as a whole. It was a testament to the genre’s potential to transcend borders and cultural barriers.
But it’s not just about the big names. The future of Afrobeats is also in the hands of emerging artists who are pushing the boundaries of the genre. These artists are experimenting with new sounds, collaborating with international musicians, and infusing their music with messages that reflect the realities of their lives. The result is a genre that is constantly evolving, yet unmistakably Afrobeats at its core. One of the key factors that will drive the future of Afrobeats is its ability to maintain its authenticity while appealing to a global audience. This balance is delicate, but it is also what makes Afrobeats so special. The genre’s lyrics, often a mix of English and indigenous languages, provide a cultural bridge for listeners who may not understand every word but feel the emotion behind the music. This blend of accessibility and authenticity is what will keep Afrobeats relevant in the years to come.
The influence of Afrobeats is also being felt in other areas of the music industry. From fashion to dance, the genre is inspiring a new generation of creatives who are using its vibrant energy as a source of inspiration. In many ways, Afrobeats is not just a genre—it’s a cultural movement that is shaping the future of global pop culture.
But what's next for this unstoppable force? As we peer into the crystal ball of music's future, several trends emerge:
Genre-blending innovation; Expect to see Afrobeats fuse with even more diverse sounds. Imagine Afrobeats-infused K-pop or Afrobeats meets Latin trap. The possibilities are endless, and these cross-cultural collaborations will only amplify the genre's global reach. Streaming dominance; As streaming platforms continue to shape music consumption, Afrobeats' infectious grooves are primed for playlist domination. The genre's upbeat nature makes it perfect for workout, party, and feel-good playlists, ensuring its continued growth. Cultural ambassador; Afrobeats isn't just music; it's a portal to African culture. As the world becomes more interconnected, the genre will play a crucial role in showcasing the richness and diversity of African heritage to global audiences.
In conclusion, the future of Afrobeats is bright, with endless possibilities on the horizon. As the genre continues to grow and evolve, it will undoubtedly leave an indelible mark on the music world. Afrobeats is not just a passing trend—it’s a movement that is here to stay, a testament to the power of music to connect, inspire, and uplift. The world is listening, and Afrobeats is ready to take center stage.
Deeds Magazine: Tell us a bit about yourself.
Citizen B:I started DJing back in 2016 under the guidance of my older brother. During COVID, I really started DJing a lot more. And since then, I've just been on that grind, going on that wave.
Deeds: What's your favorite thing about DJing?
Citizen B: What I love most about DJing is connecting with other artists and creatives. DJing is something that opens a lot of doors for me. I'm always grateful for the opportunities that I'm able to get because of DJing.
Deeds: What drives you to do what you do?
Citizen B: Well, really, I started DJing because I wanted to make people move in the room. And I wanted to be the curator of that. I wanted to be the person to be able to help them party, help them move. That's been my goal ever since.
Deeds: Day Parties or Clubbing?
Citizen B: I do love day party vibes. I feel like they're more classy events during the day. But the clubbing is really where people come alive at night, and that's where I'm at, to help them do that.
Deeds: What are you most excited about for tonight’s event?
Citizen B: I'm looking forward to the events throughout the night. I'm looking forward to hearing the sounds, the artists. A lot of people down there are getting excited, so I'm glad we got some air now.
As the summer winds down, the impact of Sin’s album, "In The Sticks," continues to resonate with listeners far and wide. Released on March 15, the album has solidified Sin’s place in Seattle’s music scene, showcasing his growth as an artist and the unique sound he’s cultivated. In this exclusive interview, he reflects on the journey so far, the challenges of independent artistry, and what’s next as he continues to make his mark in the industry.
Deeds: Can you share with us the creative process behind your first studio album? How does it differ from your previous EP releases?
Sin: My creative process is heavily driven by inspiration. I write and work when I’m in that creative mode, and that’s when I produce my best work. For this album, I started with five high-energy tracks to really just rap, and then I transitioned into five more chill vibes where I experimented as an artist. The process for this album was much more personal, with most of the work being done solely by me, except for one vocal feature.
Deeds: Your last EP was "Public Enemies." How do you feel this new studio album builds upon your previous work, both lyrically and musically?
Sin: "Public Enemies" was a collaborative EP with my brother and another talented artist, Yblilhoe. We just vibed and created hits together. However, this new album is my creation entirely—aside from one feature and the beat production. I wrote all the songs and told my own stories, making this project a true reflection of my personal growth as an artist.
Deeds: As a young black artist in the industry, what challenges have you faced, and how have you overcome them?
Sin: The biggest challenges I’ve faced have been self-imposed. I’m my hardest critic, always pushing myself to elevate my sound and quality quickly. I’ve only been in this for a little over four years, and the evolution from even two years ago is wild to me. Without chaos, there cannot be change.
Deeds: Seattle has a diverse music scene. How has the city influenced your sound and style as an artist?
Sin: Seattle’s music scene is incredibly diverse, from being the home of grunge to having raw hip-hop and upcoming pop artists. There’s so much potential and growth here. I’m not sure if my sound is like the other artists in Seattle—I’ll leave that to the reviewers—but I like to think I’m developing my own unique sound and telling my own stories.
Deeds: What themes or messages do you hope to convey through your debut album?
Sin: The themes on this album vary. In one song, “Reminiscing Again,” I dive deep into my emotions, while in other tracks, I’m just talking my sh*t. To truly understand my vision, I believe you need to listen to the album from start to finish.
Deeds: Could you tell us about any collaborations or features on your upcoming album, and how they came about?
Sin: I decided to have just one feature on “In The Sticks” because I wanted this project to be mostly about my ideas and vision. I chose A&C for the feature because I believe he has the skill to elevate music to another level. He’s studied the greats and is constantly evolving his sound, which made him the perfect fit for this album.
Deeds: In what ways do you strive to make your music resonate with your audience, particularly in today’s social and cultural climate?
Sin: I don’t compromise my music for my audience. I think my music resonates with people who relate to my experiences or are looking for something fresh. My focus is on providing quality sounds with real lyrics, and I hope that resonates with listeners.
Deeds: As an independent artist, what advice do you have for other young musicians looking to carve their own path in the industry?
Sin: My advice is to stay true to your vision, own your music, and only compete with yourself. If you want the advantage, focus on those aspects.
Deeds: What’s next for you after the release of your first studio album? Do you have any future projects or goals you can share with us?
Sin: My next step is to promote this album and get it to as many ears as possible. I’m looking forward to hearing constructive criticism so I can continue working on my music and improving.
Deeds: Are you planning to go on tour or perform live this year to promote your new album? If so, what venues should we be looking out for?
Sin: I’m currently not interested in touring while I’m still developing as an artist. However, I plan to perform locally and get some venues packed in Seattle. Stay tuned for some great shows coming soon!
The opening weekend of All Points East was a joyous occasion that exemplified the UK festival season. Travelling to East London's Victoria Park two days back to back is not a trip for the weak, but being among the masses in glorious sunshine and high temperatures with sensational sounds coming from East to West made it well worth the journey.
The opening day of the 2024 edition of the festival was already going to be one for the books as soon as Kaytranada was announced as the headliner. The lineup was studded with the likes of Tems, Victoria Monet, Channel Tres, Felo Le Tes, and Maeta, to name a few. There was no doubt that it was going to be a day filled with exquisite vibes. Of course, all expectations were met, and then, the sum.
Opening its gates at 3 p.m., the afternoon and day were a back-to-back lead-up to the moment that Kaytranada took the East Stage. Having experienced the incredible energy of Kaytranda multiple times before, we already knew there was no way we would be disappointed along the way. Other standout moments of the day included 2024 New Artist Grammy Award winner Victoria Monet, who returned to the UK after being here at the end of last year.
Back fresh as a Grammy winner, Victoria once again delivered a stunning performance which came through on all accounts. From lighting to production to her dancers on stage, she played with a crowd of 30,000 people who sang with her from the start to the end of her set. Fans who could not catch any of Victoria's sold-out shows back in December could understand why she is truly THE moment, and fans witnessing her talent were entranced and entertained throughout once again, demonstrating her continued start power.
Another standout was our favourite 'Born in the Wild' girl, Tems, who also delivered a stellar performance. As she had just wrapped the European Leg of her 'Born in the Wild' Tour, a tour known for its raw and untamed energy, we were front and centre to witness her yet again dazzle and entertain another crowd. There is something to be said about the effect she has on any audience she plays to, and it is another monumental moment for the Nigerian songstress who has continued to slay her 'Born in the Wild' era.
A special mention of day one has to go to Felo Le Tee, who also brought all the vibes to the BBC 6 Music Stage. He delivered a killer DJ set that took you from Afrobeats to Amapiano and everything in between. His set was a masterclass, blending different genres and keeping the crowd engaged. Being a part of that set and deep in the middle of those vibes displayed just how diverse the music was throughout the day. The range of tastes and sounds showed that something was there for everyone.
Of course, the day concluded with the main event, Kaytranada himself, who again did not disappoint. He delivered a killer set of his favourites and infused the newest offerings from his latest album, Timeless. The summer, dubbed a "Kaytranada Summer" for some, was deep in the moment as he closed out the opening day.
I have experienced the magic of Kaytranada three times before, and each time has been magical. Being one amongst the thousands that gathered quite literally body to body, the energy and vibes throughout his hour-and-a-half-long set were a stunning celebration of the musical discography he has built from his early days on Soundcloud up until his latest offering.
Although fans would've expected him to have many of his guests join him on stage as they were present at the festival, only Channel Tres accompanied him on stage to perform Drip Sweat. However, even with the lack of guests, he was able to come through on the highest level.
Having experienced him back-to-back following Felo Le Tee, I felt a different energy and vibe as one left the festival crowd. The excitement of Kaytranada's set lingered in the air as crowds left the site, a testament to the festival's ability to create a lasting impression.
As we returned for the second day, the anticipation was palpable. The stellar lineup, featuring Lianna La Havas, ENNY, Jamz Supernova, DJ Spoony, Andre 3000, and Loyle Carner, set the stage for another day of musical bliss. Once again, the weather was on our side, providing the perfect backdrop for a day of entertainment.
The buzz of the first day continued into the following day, which, however, had a more chilled feel. Witnessing Lianna La Havas was the moment with the sun beating down as she played her set. It was a much-anticipated performance to look forward to, as she has been relatively under the radar since the release of her last album. So, hopefully, this appearance means that new music is around the corner.
Of course, another highly anticipated artist on the bill was Andre 3000. Many audience members would have gone hoping to hear some old Outkast songs and some of his previous rap material. He delivered a very expectedly unexpected performance as he played his instrumental music. Set on stage with his flute and joined by another musician, the show was a strange sequence of events, which had it in a different setting, it might have delivered. There were instrumentals, animal noises, and a made-up language that ultimately felt like it was the wrong crowd. If it were the case of a smaller crowd that was silent throughout the performance so that one could take what was being offered, it would've made for a better moment.
In stark contrast to Andre 3000's unexpected performance, Nas's set was a high-energy, stellar performance with the crowd on their feet and going bar for bar as he went through his discography from his classic 1994 debut Illmatic to Magic 3.
Finally, the night ended with Loyle Corner, who also did not disappoint as he closed out the second day of the festival. Always one to bring a rawness and vulnerability to his performances, this time was no different. It was another powerful performance, which had him accompanied by the likes of Tom Misch as a guest on stage, Poet John Agard, Jordan Rakei, and young activist Athian Akec.
The weekend was one of blissful joy and energy and another one in the books for festival season 2024.
The opinions expressed in this article are the writer’s own and do not reflect the views of Deeds Magazine
“He does not deserve to be getting this much attention.attention.”
“This person’s song is beginning to sound irritating.irritating.”
“This person’s song is a red flag!!”
“Why are they giving this person airtime and attention when there are others around?”
These are variants of comments you will see whenever an artist making a particular genre, looks a certain way or has or has a minority background as far as music is concerned starts gaining massive attention for their music. While this is mostly taken at face as comments from listeners, the issue goes beyond just listeners' comments. Anytime this conversation arises on social media, there are people on the other side of the field. There are those who address the issues based on facts and point out aspects of the person’s craft that need some polishing or are questionable. There are those who, per their own standards, believe the person receiving attention for their craft is underserving of that, and there are those who are just floating, saying whatever can score them some Elon Musk coins and banger tweets. More often than not, while conversations of this nature surrounding the rise of an artist are not new, the conversations tend to take a somewhat discriminatory and personal turn when some artists come into play. As such, the conversation shifts from the craft to the person’s person and their being.
The world over there has been and continues to be a class divide. People from one background who look a certain way or sound a certain way are often treated differently from others. The entertainment industry, especially the music space, is no different. The truth is, that class divisions have been in place since creation. While this can be argued, the facts of the matter are that, just like people with money and power are treated special, people who look a certain way get special treatment in some spaces. Case in point: “pretty privilege,” a social term used to describe special treatment people receive as extremely gorgeous by virtue of their physical attraction. There have been instances of colorism where people of a particular skin tone are given preferential treatment over others. We can see the BBL pandemic currently happening in the music industry with people opting to get their bodies done because there is a belief that women who look a certain type of way are getting more attention.
At its core, classification within the music space stems from multiple fronts, and over time, they have found their way into the minds of consumers.
The real class divide in the music industry hangs on finances and access to resources. The entry point for artists and the structures behind them can be a booster for making or breaking an artist. Like Ko-Jo Cue said in his song “Rich Dad, Poor Dad,” some people get a head start in life ahead of others. The same is true for people in the music industry. More often than not, people from a well-to-do family or family who are music royalty always have an easier entry and path to success in the industry.
We have seen several artists exploit pre-existing connections to manipulate the industry. While this writer encourages people with existing connections or financial resources to hasten their career trajectory, the continuous exploitation of these routes has created an unsafe environment for all. For the artist's themselves and their colleagues, who are from a working-class background and, as such, have had to claw their way through the ranks, It is this existing class divide in finance that has trickled down into other parts of the industry. There has been less and less emphasis on talent and musicality over the years, with the focus shifting to people who have the financial means. The constant flexing of financial power is causing a financial burden and imbalance in the space. People are getting priced out of services because people are overpaying for the bare minimum of services, making it harder for talented but financially handicapped artists to acquire such services.
Today, people are on social media crying for more emerging artists to break through, but unbeknownst to them, service providers and people within the industry are overlooking talent and focusing on who has the connections and financial bank to fill their pockets, and by so doing, denying consumers quality art. It is actions like these that continue to raise concerns about industrial plants. Many people regard being offered a shortcut to success because of their background and/or resources.
Photo credit 09Seyram
The bias and unscaled nature of the industry trickle down to how artists themselves view and treat each other. Artists that have an aesthetic and make a certain genre of music often think of themselves as superior artists or more talented. While some people are more visibly and sonically talented in their writing, vocals, and overall branding and imagery than others, talent is just a piece of the puzzle for success. There are constant arguments on social media about a genre being superior to another, which is a topic for another time, but the entertainment aspect of music separates songs from each other. Some songs not being for a particular occasion does not mean they cannot be used elsewhere.
However, the entitlement that talent equals success needs to be debunked. The entitlement has made artists who, despite their talent, do not enjoy the attention they deem worthy of their talent behave and belittle artists who may not be as talented but have garnered the attention that they earned through their craft.
Another instance is when preferential treatment is given to people based on their level of attraction, tone, or complexion. Time and time again, there have been stories of people being presented as the beauty standard. As such, we have seen people get body shamed and experience mental health breakdowns because people have been abused verbally over their complexion or features like dark spots or straight marks. While being an artist comes with some expectations for how you carry yourself, there are times when some of these should be overlooked. Especially things that are beyond the individual's control. People within the industry and consumers alike must learn to be tolerant of people and the diversity they bring to the table. The constant favouritism meted out to people in particular in turn creates self-hatred and inferiority complexes among people.
There is a school that believes no one should be denied the opportunity to create. Rather, there have to be structures that can create a more even field for all to play and indulge in, as well as systems in place where knowledge and skills can be acquired to pursue a career in music. . There should be room for people who make any genre of music to be heard and celebrated without having to be met with anger from others who feel entitled to the same level of attention.
When an industry fails to create structures to allow the best of the best as far as talent is concerned to thrive and only focuses on money, people who have the financial means to break through the glass ceiling will rise through the cracks, and they will be a reflection of what the industry is. It is the fraud of seeing people who are not putting out “quality” at the top that gets consumers riled up to come at others who are enjoying commercial success despite having lesser talent depth. Music experts will tell you that talent is but a fraction of what it takes to succeed. As such, if the industry wants its best talents to be at the top, creating quality music alongside the others, it must strive to create an equally structured system where both the rich and struggling can still pursue music.
Classism transcends the music industry and is not likely to go anywhere soon. The least industry and consumers need to do is create an environment where people can pursue their art and not be made to feel lesser. The industry should create structures that support those who may not have the resources of others. Art is diverse and inclusive; as such, there should be room to celebrate all this diversity. Whether we see that happen anytime soon is another story.
Winny has a voice that lingers in your mind long after the music stops. Meet Winny Adanu, known simply as Winny, an artist who's breathing new life into Afro-Reggae. Her latest single, "Take Me," is turning heads with its infectious blend of rhythm and soul.Hot on the heels of her debut EP "WINNY," this rising star is proving she's no one-hit wonder. With a sound that's both familiar and groundbreaking, Winny is carving out her own niche in the industry. In an exclusive conversation with Deeds Magazine, Winny shares the inspirations behind her music, exploring the experiences that shape her unique sound.
Get ready to discover an artist who's redefining Afro-Reggae. This is your backstage pass to the next big thing in African music.
Deeds Magazine: Can you walk us through the creative process behind 'Take Me'? What inspired the lyrics and the overall sound of the track?
Winny: I would say love and vibes inspired me. 'Take Me' is one of those songs where I’m expressing my longing to spend time with my lover and reminiscing about our future together. I wrote the song with a close friend, the producer, at his house, and we recorded it while eating pizza.
Deeds Magazine: The production and mixing team for “Take Me”, include BeZaking, Othniel Yakubu, Sam Harper & Alonzo Vargas. How did these collaborations come about?
Winny: BeZaking is my very good friend. My team reached out to Sam Harper to mix the song and the feedback was great. He showed so much excitement and I was happy he could do the job. Before the final version of 'Take Me,' we had a few back-and-forths, including some changes to the verses and chorus. The collaboration came about naturally, through connections in the industry and friends who believed in the project.
Deeds Magazine: What was it like working with Lady Donli as the creative director for the cover art for “Take Me”, bringing your vision to life visually?
Winny: Donli is very creative, and she understands my brand well. We worked closely together, and I trusted her vision for the creative direction. It was cool to have her on board as the creative director, and the rest of the team contributed their expertise to make the visual aspect of the song as impactful as the music itself.
Deeds Magazine: This song also marks your first official feature on a single. Should we expect more collaborations going forward?
Winny: Yes, I love working with people, and I’m open to more collaborations in the future. It’s exciting to see what can come out of combining different creative energies.
Deeds Magazine: Transitioning from Jos to Lagos, how did you successfully adapt to the fast-paced Lagos lifestyle while also establishing yourself in the music industry?
Winny: Moving to Lagos didn’t feel like a big transition for me. I see it as another part of Nigeria, not overwhelming at all. I think Jos taught me calmness, while Lagos brings out a different energy. Combining those energies creates a unique balance that influences my music.
Deeds Magazine: How do you define your music, and what are your thoughts on the direction your sound is heading? Do you see yourself fitting into an existing genre within the Afrobeat space, or do you feel you’re creating a new branch entirely?
Winny: I don't see myself fitting into any specific category. I'm an Afro-Reggae singer, but my sound is always evolving as I experiment. I love trying something new; there’s always something fresh to explore.
Deeds Magazine: Many of your songs, including 'Take Me' and those on your debut EP, touch on themes of love, relationships, and personal growth. How has your personal journey shaped your music, and what message do you hope your listeners take away from it?
Winny: I'm in love, and love is a major theme in all my songs. Love is beautiful, and life is love. I want my listeners to feel connected to me and understand that I know what they’re going through, what they’ve been through, or what they’re currently facing. It’s all about connection and feeling understood.
Deeds Magazine: As an artist who is quickly rising in the Nigerian music scene, what challenges have you faced, and how have you overcome them?
Winny: I would say that most of my challenges are attributed to the stage at which I am right now in my career. I just feel like whatever challenge I'm going through, I have a great team that is making it easy for me. So I don't really see it as a challenge; I feel it’s part of my growth process.
Deeds Magazine: With 'Take Me' out now, what can we expect next? Any upcoming projects or collaborations that you’re excited about?
Winny: Oh, I like to keep some surprises, but I just finished rounding off my EP, so hopefully it will be out soon, definitely before the year ends.
Deeds Magazine: As a bonus question, do you have a special name for your fanbase?
Winny: I've not decided on that yet. I feel like they should decide for themselves.
Deeds Magazine: We suggest “Winners”.
Deeds Magazine: Thank you so much, Winny. It’s been a pleasure talking with you.
Winny: Thank you for having me.
Winny is more than just a fast rising star; she's a storyteller whose music resonates with the complexities of love and life. With "Take Me" already making waves, and an EP on the horizon, Winny is poised to make her sound known! Her ability to weave personal experiences into relatable anthems is what sets her apart—and it’s clear that she’s only just beginning to scratch the surface of her creative potential. Keep an eye on Winny; she’s a force of nature in the making.
When Valiant arrives for his Deeds cover shoot, he is a few days fresh from playing Wireless Festival to a crowd of eager fans who have been eagerly awaiting his performance. The performance in question is a moment for him, as the global Dancehall artist has continually grown his musical presence since his viral moment in 2022, which brought him to the music space through social media.
Since then, his career has transcended beyond expectation, with several chart-topping singles and award nominations, and his impact has grown through his use of social media. He has been able to utilise social media's power and continue spreading the next generation of Dancehall talent across borders beyond.
As a self-taught vocalist, he has been able to cultivate his own music career. The two years in which he has had a presence in the music scene have been unique. His sound has grown and developed because of his individuality and passion for music.
Now, at a point in his career that is about growth and opportunity, we spoke to Valiant about everything from social media to the next generation of Dancehall, his fans, and a lot more.
For people who may need to be made aware, who is Valiant?
Valiant is a humble, fun-loving, hardworking youth from Jamaica who loves music. I started making music in my community, and through hard work and dedication, I've been able to share my talent with the world.
What was it like growing up in Jamaica, and how did music become what you wanted to do with your life?
Growing up in Jamaica was a mixture of challenges and beautiful moments. Music was always around me; it was a part of everyday life. I found peace in it, and it's my form of self-expression. It quickly became my passion and is my way of contributing to my culture.
You represent a new generation of artists in Dancehall. Given its position in the global musical landscape, what does it mean for you to be a Dancehall artist right now?
It means everything you know; Dancehall is an influential genre and has contributed much globally. It has also undergone many changes over the years. Being a Dancehall artist now means carrying that legacy forward while pushing boundaries and innovating within the genre.
Social Media has had a big part to play in your career. How have people been able to find you, and how has your music been able to travel all over the globe? How has that impacted how you make music?
Social media has changed the game. It allows me to connect directly with my fans and get immediate feedback. It also pushes me to be more creative and authentic because they can tell when you're being real versus when you're not.
In this digital age, how do you continue to create lasting moments when social media puts almost a 24-hour timer on things to be engaged with?
Truthfully, I focus on making an impact through the music. If the music resonates, that will create a lasting moment regardless of how fast-paced social media can be.
You have played shows all around the world, and you just played to a crowd of 50,000 in London. So, what is that experience like seeing your music translate outside of social media and people engage with you all over the world?
It's an incredible feeling. Seeing people from different cultures and backgrounds vibing to my music and singing along is surreal. It shows that music is a universal language and that Dancehall has a global reach.
What has been the biggest 'I can't believe it' moment you have experienced so far?
There have been so many, and I am grateful for that. Most recently, though, I came to the Wireless stage for the first time and heard everyone sing my songs word for word. Wow, what a moment.
Who are you listening to at the moment?
Right now, I'm listening to a mix of artists. I like to keep my playlist diverse, so you'll find everything from 90s Dancehall to Afrobeats, hip-hop, R&B and other similar genres.
You have had several hits in your career so far. Which ones would you say have been the ones that surprised you people responded to the most?
One of the tracks that surprised me the most was "Dunce Cheque". How people connected with it and how it blew up was unexpected, but it showed me that authenticity resonates with people.
You have spoken about how a lot of your musical journey has been due to the fact that you were self-taught and have done everything by yourself. So, getting to this point in your career, what has that process and journey been like?
It's been a challenging but rewarding journey. I've had to learn a lot on my own and make a lot of sacrifices. But every challenge has made me stronger and more appreciative of where I am today. It's taught me resilience and the importance of staying true to myself.
In a time when Amapiano and Afrobeats had a massive global takeover appeal, where do you feel Dancehall sits in today's international music landscape?
Dancehall remains a solid and influential genre. It's the foundation for many other genres and continues to inspire and influence music worldwide. It's evolving and adapting and will always have a place in the global music scene.
What does this time represent about where you are in your career?
This time represents growth and opportunity. I'm at a point where I can reflect on my journey and look forward to new challenges and achievements. It's a time to solidify my place in the industry and continue to make impactful music.
You have cultivated a solid and engaged fan base tuned in to everything you do. How is your relationship with your fans?
My fans are like family to me. They support me unconditionally and keep me grounded. I try to interact with them as much as possible, whether through social media or at shows because none of this would be possible without them.
As a new school dancehall artist pushing Dancehall on a global artist, what other artists can you put us onto?
There are a lot of up-and-coming artists doing great things in Dancehall. Keep an eye on acts like Armanii, Rajah Wild and more. They're bringing fresh energy to the scene.
What do you want your impact to be in the music landscape?
I want my impact to be one of inspiration and innovation. I want to show that staying true to your roots is possible while pushing the boundaries of what's possible in music. I want to inspire the next generation to dream big and work hard.
What are you working on at the moment, and what can we expect from you next?
Right now, I'm working on new music, possibly an album and planning more performances. You can expect more collaborations and exciting new projects to showcase my artistry's different sides.
CREDIT
Photographer: Eazy Visuals
Creative Director: Zekaria Al-Bostani
Producer - Seneo Mwamba
Stylist: Kiera Liberati
Publicist: Tahirah Thomas
Interview: Seneo Mwamba
Ahmed Olalade, popularly known as Asake, released his third album, Lungu Boy, August 9th, which encapsulates the essence of his musical journey. The album, named after the Yoruba term "Lungu," which refers to a hidden, personal space where one is free and confident to be his/her self, is a thematic exploration of Asake’s journey from the streets of Lagos to the international stage.
One thing is clear: Asake didn't write this album for the fans; he wrote it for himself. He has anticipated this moment in his career, often saying, "I just dey blow, but I know my set." Lungu Boy is a manifestation of Asake's vision coming to fruition. This is an album crafted by a global superstar for himself, filled with themes of hustle, resilience, echoes from his past and the realities of his current life.
The album opens with an adlib of Asa’s Ojumo ti mo, setting the tone for what’s to come.
The first track, MMS featuring Starboy Wizkid, sets a reflective tone for the Album. With lyrics like "Oye Olohun" (meaning "God understands"), Asake and Wizkid share stories of gratitude, acknowledging that although the unexpected happens, and tragedies occur, God understands, and they remain thankful. Wizkid's verse is particularly personal, reflecting on the loss of his mother, which adds a layer of emotional depth to the track. The production on this track is exceptional, with rich percussions, trumpets, and an overall vibrant energy.
In Mood, Asake delves into his daily realities: “Some days I'm feeling jovi / Some days I'm feeling gloomy / Some days I'm feeling like I no wan chill with anybody” … “Sometimes I pick my key and drive around, they think I'm cruising / DND no disturbance / Take a new ink to feel normal / Losing my mind with a G face / Ọmọ no reflex when I feel pain / Life is a race, keep it running / Face my fears, keep it solid / Allahu akbar to my maker / Bow my head, I feel so grateful.” He repeats his first verse in Spanish which shows he is willing to experiment and push his sound to even new audiences.
In My Heart, Asake shows his softer side, singing about love and what it means to him. The song reveals the "lover boy" in Asake, offering a refreshing contrast to the rest of the album.
WorldWide needs no introduction. Asake declares his global status, stating the obvious with lyrics like, "Mr. Money Worldwide / E don go oh." His features on the album—Travis Scott, Wizkid, Stormzy, Central Cee, and Ludmilla—are a testament to his international reach. Production brilliance from Sarz, P.prime, Magicsticks, SAK PASE, The Compozers.
Active, which was released shortly before the album and features Travis Scott, is a high-energy track. Asake samples Jazzman Olofin and Adewale Ayuba’s Raise Da Roof, blending Hip Hop, Amapiano, New Orleans Bounce, and Funk into an uptempo party anthem.
Surulere featuring Stormzy mirrors the vibes of MMS. With lyrics like "Ise Oluwala ko seni to ye" (meaning "God works in mysterious ways"), Stormzy’s impeccable storytelling and flow complement Asake’s tempo and vibe. The song touches on advice from Asake's mother, his daily realities, prayers, and giving thanks to God.
Skating is a track where Asake sings about his new found hobby—skating—and manages to turn it into a vibe. This track reinforces that Asake made this album for himself, as his personal interests are front and center.
Mentally delves into Asake’s daily thoughts and the strategies he employs. He blends Afrobeats and Amapiano seamlessly, offering a straightforward narrative about his mental state: “I strategize, I give thanks.”
Ligali switches up the vibe with exquisite production by the legendary Sarz. This track is an instant club anthem, with lyrics like "Blow my trumpet gan, Olohun, uhhn / O den gbe mi de'be gan, Olohun, uhhn" (which translates to "You take me there a lot"). Asake indeed takes us there on this track.
Whine featuring Ludmilla is a standout track that effectively fuses Ludmilla's Brazilian flair with Asake’s signature sound, creating a track that is both playful and energetic. The song’s production leans heavily on percussion, making it a danceable tune that could easily find its way into clubs across multiple continents.
The final track, Fuji Vibe, has been eagerly awaited by fans for years. First teased about 3 years ago, the fully produced track is finally here. This four-minute track is sensational, and its release signifies that Asake has always been that guy, even before his fame.
Lungu Boy is a masterful display of self-expression, a deeply personal project that highlights Asake's unwavering dedication to his craft and his journey. By staying rooted in his origins while embracing his global stature, Asake delivers an album that is both introspective and celebratory. This project isn't about catering to mainstream expectations; it's about creating something authentic and meaningful to him. As a result, those who resonate with Mr. Money's unique sound will undoubtedly connect with this album, appreciating its depth and authenticity.
How do you feel you have been able to cultivate the sound that you have now?
It's always been about making music that feels most natural to me at any point in time. That's usually the first and most important factor or the foundation of my musical life. I'm not the kind of artist who doesn't make music just because a particular sound is trending or whatever. So, I always stay true to myself. I always work for me most of the time, and that's how I've cultivated my sound over the years.
You have stepped into a new chapter in your career and started your own label, Young Legend. What inspired the name, and what would you say were the moments that led to this for you?
The major inspiration behind that name is that you're young enough to do legendary stuff. The idea of Young Legend is that you can be young, and it's never too early to do big things. I'd say the first time I got inspired was when somebody in the industry, Tunji, sent me a DM and said, "You're a young legend," I really connected with that. It's always been my dream and goal to have a platform that I can use to support other artists. Young Legend is not just about me. It's about helping very talented, creative people. Not just musicians but also videographers, photographers, and content creators are creating that safe space on a platform for creatives to thrive. Coming from where I am, there is so much talent, but there needs to be more infrastructure. I want to pay it forward by creating a platform that supports other creatives.
What does this experience of doing things your way look like, and how does it feel different from what it was like before?
I've become more intentional regarding my rollout and the marketing and everything; it's a bit freer for me, it's not too planned out, and I get to be more involved in the process. When you are at a label, you have people who handle everything, so you're less involved. One thing I've always been in love with is the process. I like to see things start and where they will end up. I love the process, from shooting videos to recording songs and everything, so that's what has been different for me.
You released the short film with Qing Madi for the track you collaborated on, and that was a very different way for you to display your creativity. What was the whole experience of making the film, and how did the idea come about?
That video was about the importance of teamwork. Thankfully, I have a solid team passionate about the dream and the goals we want to achieve. I wouldn't say the acting or the short movie was my sole idea. We brainstormed on it, and everybody came up with the fact that, oh, is this something we can do? I didn't want to feel like anything was too crazy to achieve. I cannot stand it, no matter how crazy the idea might seem. Let's see if I pull it off and think outside the box. That's been my mindset since the start of the year. I want to do things differently on a different scale. Have people say, okay, this guy's on his name. So yeah, a big shout out to the team for putting everything together and to everybody who came up with the idea.
What was that experience like of working with Qing Madi?
Qing Madi is a very talented artist. I remember that I posted a video of one of her songs sometime last year because I've always loved her sound, even before she broke through the mainstream. I've been following her journey, and when I made the song, I said Qing Madi would be a good fit for this. So I sent it to her on a team, and they loved it. She jumped on it, and it's such a great collaboration. And she is the first female artist I've done a feature with; I've worked with women in other aspects but never actually on a song, so yeah. I had the song with my producer, and I asked him if it would be a good fit for Madi, and then I sent it to her. We didn't record it in person; I just left a place for her in the song, and then she killed it, so it was a very smooth process.
From where you are now since you began, how has your creative process changed?
Regarding my creativity, I like keeping the process the same. I occasionally try different things regarding my recording process when working with other people. I have since learned to record myself, and it's been fun, so I don't need to wait for a sound engineer or a producer, which has meant that just being able to make music and record is so much easier and smoother for me.
As you embark on this new chapter of your career with Young Legend and look back on everything you've done to get to this point, what has that journey been like for you?
It's been such a beautiful journey. It just helps me understand the way life is. I wasn't sure when I came to the game, and I was always so uptight with things. Then I realized you can do it; being young in the Nigerian music industry is no joke. So, being able to put out fantastic music consistently means you're doing something right. And so, for me, it's been a beautiful journey of acknowledgement that whatever effort, time and energy into my music career has not been in vain because things keep getting better and more extensive.
How have you been able to maintain the same mindset in navigating all of the ups and downs and everything that has happened in your career?
This time has been the best I've been mentally. I'm more confident, more daring, and more willing to try out different stuff. I don't. I don't move with fear anymore. I do it if I want to do something, regardless of the outcome. I have learned to fall in love with the process, and I have found that it means that you always do well because I feel like when you are focused on getting results and don't get the results, you feel discouraged. However, when you fall in love with the process, you enjoy everything more; I enjoy making music, shooting videos, putting my music out there, connecting with fans, and just falling in love with that process makes it a lot easier. It takes a lot of stress off your mind; you don't really move with expectations or results. Results will always be great, but as a creative person who wants consistency, you have to learn to fall in love with the process.
What advice do you have for young artists?
The biggest thing for me is being unapologetically yourself. If you're a lover, boy, own it with your chest. If you're a girl, own it with your chest. Don't try to portray yourself to be somebody you're not because what usually ends up is you end up keeping up with an image that you've given the world that's not really you, and that also leads to mental stress. So when people like you for who you are, you know it's true; if people don't, at least you know it's real. Don't expect everybody to like you. So, that's one: stay true to yourself, be open to learning, and be consistent. Try to show up every day and look for a way to improve yourself. Don't get too comfortable; save your money when you make money.
In this moment of your journey and where you are in your career, how does this moment speak to where you are and the space that you are in, how you are feeling about everything, and what you have in store for the future?
It's such a crucial moment for me. I've never felt so much more at ease since the beginning of my career. I've had mental clarity; productivity is at a very high level, and a lot of results. The results for me being in this state right now will show off in a few months. It's going to pay off, and it's going to be heavy. There are plans in motion, and I'm 100% ready for music showing up and ensuring everything's well. Everybody involved is just ready to go, ready to put in work, and when all these factors are put in place and balanced, the sky is just the beginning. I'm excited because I know what's coming in a few years will be incredible, and it's about staying ready.
CREDITS
Project Manager: Zekaria Al-Bostani: @zek.snaps.
Producer: Seneo Mwamba: @seneomwamba
Photographer: Joshua Kinsella: @kinsellz
Stylist: Mh’ya Mclean: @mhyamclean
Photography Assistant: Will Sousa: @wc_sousa
Design: @deeds.studio (@dianeadanna)
Studio: Blankboxstudio: @blankboxstudio
Nigerian superstar D’banj recently revealed the track list to his much-awaited fifth studio album titled “Entertainer - The Sequel” which is due to be released on August 9 via DB Records.
Oladapo Daniel Oyebanjo, more commonly known as D’banj described his new album as a musical project which he hopes will represent the journey and development of African music on the international scene.
He said: “Life is a maze of self-discovery and my new album “Entertainer - The Sequel” confirms this truth to me.
“It truly reflects my growth as an artist as my continued commitment to pushing boundaries of African music.”
“Entertainer - The Sequel” will delve into multiple genres such as Afrobeats and Afropop to showcase how far the African music industry has come in recent years.
The 11-track project will include two bonus singles as it follows D’banj’s hit 2008 album “Entertainer” which featured some of his most popular and recognisable songs to date such as “Fall in Love” and “Igwe.”
Recently, he has described himself as an emerging artist despite being at the height of the Nigerian music scene for more than 20 years. His latest project is set to reflect this sentiment as he revealed plans to work with the new generation of African artists both inside and outside of Africa.
The album will feature some of the biggest names in modern African music including Grammy winner Haitian rapper Wyclef Jean, Congolese singer Awilo Longomba, Senegalese musician Youssou N’Dour, American star Akon, and South African musician DJ Maphorisa.
To showcase and highlight the success of his mentorship scheme Cream Platform, the Nigerian singer will also feature his talent discovery project Specikinging who currently, is making a big name for himself with hits including “AKaaba” and “Resolution.”
Earlier this month, D’banj dropped one of the songs off the album titled “Worthy.”The single was accompanied by a music video shot in Nigeria and Senegal and directed by the talented Clarence Peters.
The track, which featured Youssou N’Dour and rising Nigerian-American singer Chechi Sarai, gave fans a taste of what the rest of the album will encompass and created high expectations, with the song quickly garnering positive reviews across social media.
In a statement following the song’s release, he said: “Behind every song is a story, and “Worthy” off my upcoming album holds a special place in my heart. Collaborating with the legendary @youssoudour1959 has been an honour beyond words.
“Having @chechisarai put her incredible vocals on the track, with @eskeezondbeat producing and @clarenceshotit directing the video, made this journey even more special.”
“Entertainer - The Sequel” is available for pre-save now.
Here is a full run-down of the album:
Bonus Tracks:
When it comes to talent representing East Africa, there have been artists who have emerged and displayed what they have to offer. From the likes of Diamond Platniumz to Sauti Sol, who has been heavily representing the space in today's musical landscape, there has been a surface of the music that has seen a new generation of artists such as Karun, Xenia Manasseh, Zuchu, to name a few.
Rayvanny is one of the players who cemented his presence by waving the East African flag through his mentor Diamond Platniumz, who came through via his Wasafi, which he signed back in 2016. From that moment on, his nearly decade-long career has seen him grow and rise above anything that has been expected from him, taking his musical sounds of Bongo Flavour and more beyond the region and placing them on a global scale.
He has continuously evolved and expanded his musical talent beyond what would have been expected from him. Describing his sound as "music for the world," the statement could not be truer, as he is a BET Award winner and the first African artist to perform on the MTV EMA stage. Not to mention, he has boasted collaborations from all across the African continent and beyond.
Now stepping into the next phase of his career, he launched his record label, NEXT LEVEL MUSIC, to continue to grow within his musical journey and search for and foster the next generation of talent.
How would you sum up how your music career began?
I started doing music when I was still in school. There was a freestyle competition because I was a rapper back in the day. So, I went to freestyle competitions, and this was in 2011. I won in my city, but that competition was all around Tanzania. So, when they found those winners from different cities, we went for the final, and I was the winner. So the people who were the supervisors took me to a studio, and then I met the label Tip Top connection, where I was there for three or four years, and I moved to Wasafi. That was in 2016 when I dropped my first song, Kwetu, which was when I started gaining popularity.
Please speak to us about being from Tanzania and representing the country in the way in which you have with your music.
First of all, I'm so proud of my country, and I'm so proud to represent my country everywhere I go. Because it's not only for me, it is for the industry; big shout out to Diamond Platinumz, my brother. I'm so happy to expose my music and have people listen to my sound. But what I'm the most proud of is that my music represents my country everywhere I go. I like to incorporate or collaborate with different musicians from around the world. My mind is about more than just making music for East Africa or my country. I must do music for the world so that the world can understand what we have back home. I'm not doing it for myself because when our music industry is recognized worldwide, you know, it's a good business for the generation of my country. And that's what I'm fighting every day: I have to do it and represent the culture. So, representing my country worldwide is a good feeling.
Speaking of going international, you've collaborated with a variety of artists from across the world. One of your more recent collaborations was with US rapper DreamDoll. How did that come about?
I dropped Shake Shake with DreamDoll. My queen from the US, she's from New York. I was in LA, and one of my friends was playing music, and I heard a song of hers playing. I just liked what she was doing and wanted to walk with her. My friend put us in touch and let her know I was a fan of her stuff, and she asked if he could share some of my stuff with her. So, I just sent her the track, and we managed to get it. So that's how the song came about,
How have you been cultivating your music and expanding it beyond the expected sounds of what people expect coming out of Tanzania?
Music to me is a universal language, and if you say you're doing Bongo flavour, or you're doing Afrobeat, or whatever style of music. For myself, I'm doing worldwide music because my music is like a fusion of everything. You know, you can hear Afrobeat in it. You can have Bongo flavour, whatever; I mix everything and do something for the whole world. I can make music in my own language, but I want the whole world to relate to that sound, so I'm chopping different sounds from different parts of the word. I don't want to. I don't want to put my music in a category. I like all the sounds from Africa, from America, from everywhere. What I like right now is the whole world is paying attention tour music to our African music. I'm not a musician from Tanzania. I'm a worldwide musician from Tanzania. I'm not doing not just one category of music.
You formed Next Level Music two years ago. What has that experience been like, and how did you get to the stage where you are in your career now?
To get to this stage, I have to give thanks to God first of all. They are life stages; for me, it's been about growth. I was signed to a label and found that when you grow up musically, you must move on and help others. The point I am right now is that I've had help from people who have been a part of my journey, picking me up and getting me to this stage. And from here, I'm grown enough to lift other musicians and help other talents from the streets. In addition to chasing my dreams, I need my free space. I have to see how I want to be and where I want to go. So it's all about growth and stages in life, and you have to move from one place to another. I'm so happy, and I'm so proud of myself at this stage. I was on a label, and now I'm independent, and I have to help other talents from the streets and move forward in my career.
There is so much new talent coming out of East Africa, and as somebody who is in the position now to be looking at new talents and artists to help in the same way you received help at the beginning of your career, what do you look for in new talent?
First, I'm looking for talent; I can always see something when I look at an artist, and I recognize that there is a talent within them. However, discipline is also essential because you can have the talent, not the discipline you need. Having a spirit of hard work is one of the things that I consider, but this new generation has different ideas. They are on the internet, they see things, and they take in so much stuff online, and they take those things and interpret them in their way. We need to have new blood and fresh minds because if we want to move forward and our industry to be big and grow, we have to look for this new talent. It's not only us that can take it to the next level, so we need these new kids. There is so much talent out there, and it's untapped. They don't have the resources to chase their dreams, so we have to open more Next Levels to motivate them and help their lives. It's our responsibility, and we must help these kids.
In everything you have experienced in navigating your career and staying true to who you are as an artist, what would you say has helped you stay true to the core of who Rayvanny is throughout everything?
I believe in God. I'm a god believer, and being a a god believer, when I have a plan, when I have a focus, of course, I can listen to different advice that I that I get, but I'm that person that always follows my focus and believe in God, I think that's the key. There are a lot of obstacles you can face, a lot of stuff that can hold you back, or you can feel like you cannot do it anymore. There's that kind of feeling sometimes, but to me, nothing like that when I have my focus. When this is going to happen, it's going to happen. Nobody will tell me, you cannot do it, this is impossible, this is not good for you, this doesn't fit you., I always follow my focus and believe in God, and most of the time, it happens. Whenever I plan, it's always successful. So, I think that's the key when I have my focus: I follow my goals and believe in God.
What can we expect from you in this next chapter of your career with your new music and everything you have in store for the future?
Okay, I don't want to tell you now, but it's next level. Next-level shit like it's global, shows, performances, numbers, everything—next level. Just wait and see.
CREDITS
Photographer: Garry Carbon: @becauseimgarry
Assistant photographer: Reheem: @devantayj
BTS videographer: Sheldon: @worlmag
Creative Producer: Zekaria Al-Bostani: @zek.snaps
Project Manager: Nadia Muwanga: @diditforthegram
MUA: Niamh mcaleenan: makeupniamh___
Stylist: Rachel Onilude: @sinmistyles_
Journalist: Seneo Mwamba: @seneomwamba
Design: @deeds.studio (@manuch1m & @shalemalone)
Location: Blankbox studios: @blankboxstudio
COLORSxSTUDIOS is a platform that showcases the finest talents around the world. The online music platform has introduced upcoming and ongoing established artists for years and what makes this show so unique is through showing the talents from around the world, no matter the demographic or geographical aspect of the artist. This specific episode shines a light on the revolutionary, sublime and individualistic performance of South African artist Moonchild Sanelly. She sets the COLORS stage ablaze with the electrical performance of her single ‘Sweet And Savage’.
Moonchild Sanelly (born Sanelisiwe Twisha) is a South African musician and dancer from Port Elizabeth. She stems from a very strong creative background as her mother is a jazz singer, her brother is a hip hop producer and her cousins are kwaito dancers. Her career started in 2005 when she relocated to Durban to study fashion at the Linea Fashion Design Academy and she would perform poetry and hip hop at the Durban University Of Technology. She would go on to feature regularly on radio on the weekend show called “Poetry with King Siso” on the South African radio station Gagasi FM. She pursued her music career and went on to release her debut album ‘Rabulapha!’. In 2015 which earned her a nomination at the 22nd South African Music Awards for “Best Alternative Album”. She was then discovered by Red Bull through a feature she did on South African DJ Shimza’s EP. She furthermore went on to work with major South African artists such as Distruction Boyz, DJ Maphorisa, DJ Tira Kabza De Small, Focalistic and Major League DJz. Her genre ranges include Gqom, Amapiano, House and Dance-pop.
In 2019, Moonchild Sanelly featured on “Beyoncé’s The Lion King: The Gift” soundtrack for the single ‘My Power’ alongside fellow South African singer Busiswa, South African DJ Lag, Nigerian singer Yemi Alade, American singer Nija and American rapper Tierra Whack. Other African artists featured in the soundtrack included Nigerian artists Burna Boy, Tekno, Mr Eazi, Tiwa Savage and Wizkid. Later that year, she released her ‘Nude’ EP. She entered 2020 with the collaboration with Amapiano duo JazziDisciples on their album ‘0303’ with the hit single ‘Askies’ and she also featured on the British band Gorillaz seventh album ‘Song Machine, Season One: Strange Timez’ on the single ‘With Love To An Ex’. In 2021, she featured on the BET TV Show “Madness Method” and her single ‘Yebo Teacher’ was released. She added another international feature to her belt as she collaborated with British band Sad Night Dynamite and British rapper Trillary Banks for her second studio album titled ‘Phases’ which was released in June 2022.
Moonchild Sanelly adds a unique twist to her artistry as she fuses multiple musical elements such as Afro-punk, kwaito, jazz and hip-hop into her sound. She infuses her home language isiXhosa into her lyricism and does so in both her local and international sound. She takes a different approach to her music as her voice creates a fun atmosphere in her music. Throughout her incorporation of English and her adding a twist of her home language in her hooks and always experimenting with her sound, she can be versatile in a long list of genres.
Credit:
South East London singer/songwriter Gabzy has recently joined forces with fellow UK emerging talents JayO and Odeal for his latest single “Too Fine”, released on July 18.
The London trio announced this surprise project to fans via Gabzy’s X account, formerly known as Twitter and his Instagram. The post on both social media sites simply said: “Wednesday, 7pm. We ready?” This led fans of all three to flock to the comment sections where they expressed their excitement about the newest single.
The emerging group have recently dominated the UK music scene as individuals, producing some of the biggest hits in the last few years, with each garnering praise and recognition.
Nigerian and Peckham-born vocalist Gabriel Akinyemi, more commonly known as Gabzy, has become one of the UK’s biggest music rising stars. His ability to weave together different genres ranging from R&B to Afrobeats has made him one of the country’s stand-out stars and the multi-faceted artist he is known as today.
Gabzy quickly gained notoriety, becoming a household name following a successful collaboration with Nigerian singer Melvitto with their EP “Summers” back in 2019. The project thrusted him into the spotlight as he released his first solo EP titled “Malone” a year later, with some of his most listened to songs including “In Fact”, “Stay” and “Trouble” proving popular among his fans.
British-Nigerian JayO catapulted onto the UK’s music scene following a string of infectious songs including his infamous singles “XO” in 2022 and “22” in 2023. His fearlessness when it came to experimenting with various genres from grime to hip-hop, R&B to Afrobeats, and nowadays more of the latter two, has made him one of the most in-demand artists in the last few years.
Rounding off the Nigerian trio, Odeal, born in Germany but raised in the UK, quickly rose up the ranks within the UK’s music scene, becoming one of its leading faces for British Afrobeats and R&B.
Following successful collaborations with artists including Nines, K-Trap and Juls, Odeal has since delivered sold-out headline shows with his COLORS performance of his song “Coffee (Don’t Read Signs)” garnering over 10 million views. His performance became and continues to be one of the most successful recorded on the music platform.
“Too Fine”, produced by RZ who is known for their work helping to create JayO’s “22”, delved into and explored the themes of love, admiration and attraction towards a partner or lover.
Gabzy, who sang the chorus, said: “You’re too damn fine to be walking alone/looking like Mrs Malone.” These lyrics reflected his desire to continuously remain in his lover’s presence as he hoped to stay and build a life with her forever.
The track provided the perfect backdrop for each singer to showcase their individualistic talents and strengths whilst being able to merge different genres, highlighting the influence and versatility of Afrobeat music within the UK music scene.
With the single being dubbed the “ultimate summer anthem”, it has led to many fans wanting to see more collaborations from the trio, hoping that this will not be the last time they meet up.
The moment it struck me how influential Nigerian artists have become was when I stumbled upon a fan page dedicated to Ayra Starr, run by international fans who don’t speak English. The engagement on that X account was something.
Not long after, I came across a video of people in Germany vibing to ‘Ozeba’ by Rema in a club, illustrating just how far Nigerian music has traveled.
These artists not only entertain but also serve as ambassadors of Nigerian culture, introducing global audiences to our unique sounds and stories. It’s important to examine how they portray us to the world and in this article we look at three amazing artists.
First let’s look at the beautiful, talented Ayra Starr.
Ayra Starr is truly a star. She’s the definition of healthy self-expression and empowerment especially among young women. Her music is a fusion of Afrobeats with the contemporary sounds that fits right in with her generation. Her lyrics are sometimes out of this world showing that youth is not synonymous with a lack of depth.
Ayra sings about her experiences, emotions, and desires, providing a soundtrack to a world where overbearing societal standards are met with carefree rebellion. She is a voice for young girls across Africa, inspiring them to define their futures.
In a culture that often stifles women's voices and limits choices, Ayra Starr is a beacon of self-assurance and independence. Her ability to express herself fully and encourage other young Nigerian and African women to do the same is astonishing. Ayra’s rise in the Afrobeats industry, where such self-confidence from young women is rare, provides representation for girls who might not see themselves reflected in older African or American artists.
Her music explores various themes like: identity, rebellion, and self-discovery. She addresses the realities of societal expectations and the pressures faced by young women. Her work is a reflection of the Nigerian society's ongoing tension between traditional values and modern aspirations, offering a narrative of adaptability and resilience.
Ayra is more than just an amazing singer, she’s part of the new generation of women who are redefining Afrobeats and contributing to its evolution in representation. Women have greatly shaped the genre, and Ayra Starr's success cannot be overlooked in the ongoing popularity of Afrobeats.
So how does Ayra portray Nigerian culture?
Well, she embraces the traditional and contemporary elements. Her fashion choices and musical style resonate with a global audience and helps in a better understanding of Nigerian and African culture among fans and admirers. As an artist at the forefront of Nigeria's current music movement, she bridges the gap between past and present, honoring and reinventing cultural norms.
Ayra Starr is a cultural icon for her generation and she knows this. In fact one of her missions is to be a voice for young Black girls in Africa. Her impact on Nigerian music and culture underscores the importance of telling nuanced stories of African women, continuing the legacy of Africa’s first generation of global superstars who were women like Angelique Kidijo.
Ayra has expressed her desire to be remembered as someone who worked hard for her people and her continent. Well I’m certain we would never forget her and neither will the world.
Next, is the ever talented Rema.
Rema is simply unique. His blend of Afropop and Afro-Rave, a genre he coined to describe his energetic and innovative sound is something spectacular. He isn’t just a regular artist, his music
often incorporates elements from various global influences, including Bollywood and Latin pop, creating a distinct musical style.
Rema's work has a distinct vibe but his introspective lyrics which often explore themes of love, self-discovery, and cultural pride keeps everyone on their toes.
One recurring theme in Rema's work is the celebration of his Nigerian heritage, particularly the cultural richness of Benin City. In one of his most controversial performances, he paid homage to Queen Idia of the Benin Kingdom in his performance by wearing a replica of her mask.
Through his music and performances, Rema addresses the complexities of Nigerian identity. He intersects modern influences with traditional culture.
Rema's impact on Nigerian society is multifaceted. Socially, he challenges cultural and religious norms, encouraging a broader understanding of Nigerian history and heritage. He also incorporates elements from Indian cinema into his music, thus fostering cross-cultural appreciation and highlighting the shared narratives between Nigeria and India.
Culturally, Rema has become a symbol of youthful innovation, representing the dynamism of Gen Z artists who are reshaping the global music landscape. Rema's work is a testament to the power of cultural representation in music. He uses his platform to celebrate and redefine Edo culture, bringing global attention to the artistic and historical significance of the Benin Kingdom.
Rema has this amazing ability that helps him blend diverse influences into a cohesive artistic vision. He shows us how much music can bridge cultural divides and inspire new narratives.
Finally we have Tems.
We all know Tems for her unique blend of Afrobeat, R&B, and neo-soul. Her music is soulful. She has such a distinct vocal that sets her apart from the rest. Her vocals are her strength as they help her convey vulnerability and strength simultaneously.
Tems explores themes such as self-discovery, empowerment, and resilience. Her songs often delve into personal experiences and emotions, offering listeners a sense of connection. Through her music, Tems addresses the complexities of love, identity, and personal growth.
Oftentimes her music reflects the struggles and triumphs of young people navigating modern Nigerian society. Her lyrics address issues of self-worth, independence, and the pursuit of authenticity. By sharing her personal journey through her songs, she resonates with audiences who are searching for their own paths in life.
Her success has opened doors for other female artists in a male-dominated industry, challenging traditional gender roles and inspiring a new generation of musicians.
Through her music, Tems tackles social issues such as identity, gender equality, and mental health. Her song ‘Damages’ for example, addresses the emotional fallout of toxic relationships, encouraging listeners to value themselves and seek healthier connections.
Tems’ work contributes to the global understanding of Nigerian culture. Her music showcases the diversity and richness of Nigerian musical heritage. She is a cultural ambassador that helps bring Nigerian stories and perspectives to a worldwide audience.
With Tems, you can see how dynamic Nigerian music is. You can also see how capable the Afrobeat sound is in influencing global music trends.
Impact of these Sounds on the Global Audience
Ayra, Rema and Tems and other Nigerian artists have created a sound that is both distinctly African and universally appealing. Their performances and collaborations have brought them to the forefront of global entertainment. These artists create global anthems.
However that is not all they do. They help convey unique African experiences and perspectives, giving the world insights into Nigerian culture, values, and struggles. This storytelling fosters a deeper understanding and appreciation of African heritage. Plus, they help introduce and continue to show off African culture to the world.
For Nigerians who are far away from home, these artists serve as a reaffirmation of their cultural identity and heritage. They also give them a sense of belonging and pride. And, best of all, these songs help Nigerians in diaspora bridge geographical and cultural divides.
So the next time you want to introduce someone to your culture, try music.
Grammy award and Latin Grammy award-winning Nigerian singer, Yemi Alade hosted a private album-listening party for her upcoming album ‘Rebel Queen’ on Wednesday 17 July 2024 at SEE Lagos, for her fans and lovers of Afrobeats.
The Lagos party is the last one following prior exclusive listening parties that she hosted in Paris, London, and New York to promote the upcoming release and celebrate with some of her fans, friends and colleagues in the industry.
Before her arrival at the venue, the DJ set the mood with some of Yemi’s songs and other classic Afrobeat tunes. There was also a menu for guests to select cocktails, mocktails and food of their choice.
A few colleagues, such as Uti Nwachukwu, Ric Hassani, ILLBLISS, DJ Neptune, Sunday Areh, Qing Madi and Ugochi, also graced the party with their presence.
It was already a lit occasion, but it was when Yemi arrived that the party truly began. She sat close to her fans for easy access and had a chat about her new album.
When asked about why she was always intentional about her album titles and using them to push the African woman and Africa narrative, here’s what she had to say:
“My album titles have always been a tale of victory. They always signify something I have triumphed over and Rebel queen is a victory name that I have given myself. Because through it all I have always been one of those people that don’t follow popular opinions. I don’t use that as a yardstick to make decisions in my career and that is why ‘Rebel Queen’.”
She also shared her secret to surviving in an industry that’s so loud and filled with varying opinions. She simply just sieves through opinions that don’t resonate with her because everyone is entitled to their own opinion. Deeds Magazine also spoke to Yemi about her new album, and you can read all about it here.
The listening party was private indeed and every fan got to interact with the superstar. ‘Rebel Queen’ will officially be released on 26 July, and will be available for streaming and download on all major music streaming platforms.
I caught up with Blxckie fresh off the stage at his New York show in Irving Plaza the night prior and moments before arriving at his hotel to prepare for his exclusive mixer event. We touched on the assurgence of South Africa music including Amapiano, his first North American tour and his hopes for translating his artistry to the Western world.
Blxckie, born Sihle Sithole, grew up in Durban, South Africa, a coastal city known as the third most populous, behind Johannesburg and Cape Town, and the harbor recognized for a majority of the country’s trading. Perceiving Durban from a worm’s eye view, the 24-year-old rapper says you’d notice it’s a mixed-race city. “Most of the people that are born and stay [in Durban], have a white parent. That's where I grew up but, as a Black person. I went to school there. That's where my family still stays, that's where most of my friends still are,” Blxckie shared.
The mixed-race population of SA who may have ancestry from Africa, Europe, or Asia, were formally classified as coloured by the apartheid government in the 1950s. Apart from the country’s coloured populace, Durban also has large Indian, White and Zulu peoples. Blxckie is Zulu of the Nguni tribe and his first language is isiZulu.
However, the country's history and people, as in all African countries, are far more vast than their limited, albeit widespread textbook anecdotes. Blxckie explains “South Africa is a melting pot of so many different cultures, even though they all sort of overlap, like some of the 11 official languages [and English] sound alike and stuff. There is a lot of SA history rooted in Johannesburg and Cape Town and they are probably the most talked about because that's where all the business happens. I feel like every country has their history and their richness.”
Blxckie moved to Joburg from Durban, about 4 years ago when his music career started taking off, a dream that he began pursuing more seriously when the pandemic struck. Before that, the musician was studying Psychology at University and working towards becoming a clinical psychologist. Like a majority of African kids, the boundlessness of higher learning was a surefire ticket to advance social classes. “I came from very humble beginnings. I was super into my books. [Because of that] I had the luck and opportunity to get a scholarship for high school so that was like a nice turning point for me but then even when I was in university, the scholarship didn't continue so it was getting quite difficult,” he recalls. “Fortunately or unfortunately, COVID happened and the academic structure had to be paused for a bit and that's when I started focusing on making music more.”
And of course, any artist pays particular attention to how they are being perceived. A special part of that conception includes attempting to carve out one’s individuality through their stage name. “I started as SIHLE, which is my real name. I went by that for a long time, probably until high school when I started getting more into Soundcloud.” When Blxckie realized that not a lot of people pronounced his birth name properly, he decided to switch it up altogether. “I became Blackie Chan for a while, a play on Jackie Chan. And, you know, I’m Black and dark or whatever.” Shortly after his initial name change, he began searching for his name on the internet to view the progress of his latest releases and noticed there were quite a lot of people with the same nickname. “So I took out the Chan and changed the A to an X just to stylize it.”
Nowadays a few artists have incorporated some version of Black in their name. “Even now I still realize, there's a lot of people who have Black in their [stage] names. You know Black Sherif, BlaqBonez, Odumodublvck. Those are all my guys by the way. I’ve met all of them and we are working on some stuff.”
From being born and raised in Durban to touring the United States through his music, Blxckie ruminates on failing to take it all in at times. The end of tour shindig in New York, courtesy of Def Jam Recordings, was a moment for Blxckie to make an official debut with his brewing fanbase in North America. He officially inked a deal with the infamous label during the fourth quarter of 2023, a partnership he credits to Tunji Balogun, the Nigerian-American record label executive and Def Jam’s current CEO. “I think Tunji had DM’d me in 2021 and I didn't realize who he was at the time. Last year when I was about to come perform at SXSW and still hadn’t signed yet that’s when I met him and everyone was like, ‘Yo, this is the Def Jam guy, you need to tap in.’ When I went to go look, I realized he had DM’d me so far back and it just shows that he’s so tapped in. He’s not just going off hype because back then I wasn’t internationally known but I was known in South Africa,” he disclosed.
Sounds from Africa have been on a steady incline into the Western world. A major contender in genres from the motherland is Amapiano, a derivative of South Africa, that is giving Afrobeats a run for its money. At the 2024 Grammy Awards, South African artist Tyla took home the first-ever Best African Music Performance golden gramophone for her globally recognized pop-piano record “Water.” Her win, by way of SA, is quite the feat as it came before the release of her debut album, in a category that included African heavyweights Burna Boy, and Davido (featuring Musa Keys), Asake, Olamide and Ayra Starr.
“I feel like in South Africa, the dance music scene has always been there and Amapiano is a part of that. I guess right now we sort of broadened ourselves and it’s something that we can claim and own. Unlike the stuff before like Tribal House and Deep House which could be traced back to London or even Germany,” Blxckie dives into the history of dance music in his home country. “But Amapiano is like our thing and that’s what makes it so special. I'm proud of and know all of them that are doing it right now. I’m a big fan of all the South African people that are taking that sound abroad. It gives us opportunities and it's not just for them, there's a lot of people in SA that gained from the fact that Amapiano artists are doing such huge things around the world,” he continues.
Aware of the heights dance music has helped propel the influential sub-Saharan African country, Blxckie reflects on its role in his musical journey thus far, “You know, I'm sure if I was making music around the time that I was born, there probably wouldn't be any dreams of me just being out of South Africa. There's just so much that has happened in the past ten years that opened so many doors and allowed for so many of us to have these types of opportunities,” the rapper persists.
However, Blxckie is not to be mistaken for an Amapiano artist, although he enjoys the subgenre of Kwaito and House music, comprised of synths and wide, percussive basslines. “Sometimes I make and write [Amapiano] songs for artists but I don't feel like it's part of my identity. I've been building this whole Blxckie brand just off of R&B, Hip Hop and Afrobeats. But then when it gets to Amapiano, I feel like it's a little fast for me. Not in terms of enjoying it, but if someone heard a song from me and it was Amapiano, [I think] they’d be thrown off, even though I make a lot of different genres. I dibble and dabble but I’m not into making dance music,” Blxckie explains.
He concedes his point further by making the clear distinction that he isn’t a conventional rapper, but a rapper, nonetheless. “I’d say I’m a melodic rapper for sure. I’m not a traditional rapper. Like all the beef and battling, I don't think I'm traditional in that way, but you know I think a lot of rappers right now are into the melodic vibes, [we are] more about the flow and stuff. But then, since we are hip hop artists, we can tap into that sound that's more hard-hitting and more intentional.” Honing in on nontraditional rap has served the Def Jam signee well so far.
The Durban artist’s sound-maneuvering between hi-hat patterns and snare drums, with his soothing voice and melodies is a conscious effort as he is a student of southern American trap music. “Rap-wise, I listen to a lot of Atlanta rappers like Young Thug and Migos.” Blxckie spent three months in Georgia’s capital city, mainly creating music. “Atlanta's a vibe. I feel like if I had to get a spot out here, it would probably be in Atlanta.” Outside of rap music, he finds inspiration in the new wave of trap R&B and Afrobeats. “I’ve been bumping a lot of Bryson Tiller, PartyNextDoor and Roy Woods. On the African side of things, I’m super into Afrobeats, Rema, Wiz and Blaqbonez are very big inspirations whenever I'm tapping into that pocket because no one does it better than the originators.”
Blxckie has already been named Apple Music’s Up Next artist, and had a solo certified gold song and album in South Africa with “David,” off of B4Now in 2021. That same year, he took home Album of the Year, Song of the Year and Best Collaboration at the South African Hip Hop Awards, as well as earned a double platinum song “Yex4'' with fellow SA rapper Nasty C. In 2022, he was nominated for Best International Flow at the BET Hip Hop Awards and a single he was featured on, “Sete” with K.O. and Young Stunna also went double platinum. With the larger part of his successes found in his native country, embarking on a North American tour opened Blxckie up to a whole new world.
The “We Only Talk About Real Shit When We’re Fucked Up” North American tour, headline Dreamville’s Bas, the Sudanese rapper from Queens, New York with diasporan special guests Reuben Vincent who is Liberian by way of Charlotte, North Carolina and Hoosh also of Sudan, based in Miami, Florida and, of course, Blxckie. Bas and Blxckie met in South Africa and began cultivating an ongoing creative relationship. “Bas is really into SA, every year he makes an effort to be out there and since he's there so much, he has a solid fan base [there]. I think it was after this show called ‘Rocking the Daisies’, he was at some club called Coco. We spoke about a few things, but honestly, at the time, I didn't believe it was going to leave the club, 'cause you know, everyone is so lit, so most of the conversations don't,” Blxckie recalls their first encounters.
The melodic rapper is featured on Bas’ “U-Turn” with A$AP Ferg off of the We Only Talk About Real Shit When We’re Fucked Up album, and have a few records together in the vault. “When he was finishing up the album, he was like, ‘yo, I want to hear what you would sound like on this one song I’m doing.’ He sent it, and then I did it the same day but sent it the next day. He loved it.” From collaborating on the album to linking up in the motherland on numerous occasions, Blxckie was asked to officially join Bas’ tour. “It’s been very dope. The reception and I also figured out where my people are and where the strongest fan base is. I’m super humbled and appreciative of everything he's been doing for me.”
Blxckie continues, “Bas’ crowd is not into the hype. They're not there to jump around and get lit. It's more about the music and the lyrics. There's no chance that an unknown person would get on stage and not get attention because they learn to hear what you're about. It's a very dope crowd. He also touches on the added layer and importance of African solidarity and representation. “Him having artists with African roots just made it that much more special. And the stuff that he speaks about on his album is very much related to all the difficulties that are going on in his home country of Sudan. I feel like he just thought about the representation of other African countries. Which is super selfless and commendable ‘cause, he didn't need to do that. His album is going well, he could've just gone by himself. But he was like, yo, I just need my guys on it. All thanks to him.”
Durban’s own does well to place his career into perspective and speaks highly of those who have played a part in his journey so far, from his team to family and friends, who he says often remind him of how far he’s come. “I try to speak to people that were there in the beginning and they give me a [different] perspective. Like recently, I posted 28 shows, 20 cities done, or whatever. They’re the first people to be like ‘Did you realize that you just did that? It's not something light.’ They remind me when I’m doing something right, progressing, and not stagnant,” the SA rapper shares.
Blxckie hopes to continue to take note of how far he’s come and hopefully, one day, reach the point where he looks back at his career, in his 50s and maybe even takes up another art form. When talking to his younger self, he’d say, “You made the right decision moving to Joburg and to keep taking care of your family and friends, for sure. To keep taking care of your heart, mind and your soul. So that by the time you reach 50, and you are making jazz, that everything is balanced.”
Choosing to bet on himself and leave the seemingly promising trajectory of studying clinical psychology to chase his creative dreams has led Blxckie to wondrous heights. He says he’s learning to remind himself to take it all in, as the fast life has a way of blurring the days and his stand-out accomplishments. The intro to B4Now “Mama It’s Bad,” is an introspective letter to his mother about navigating through the hardships present in rising to fame yet ultimately trusting the process. On it, Blxckie croons, “I know God works in perfect timing / I just bow down and wait in line for my blessings.” In his current state, fresh off tour, I asked if he’d still tell his mother that it’s bad. He chuckled and then replied, “There are different problems but it’s definitely not as bad as it was back then.”
Photographer: @ByTunde
Stylist: @Styledbyglo_2
Stylist Asst: @Demeir.Wav
Creative Direction: @Styledbyglo_2
Creative Direction Asst: @Demeir.Wav
Art Direction: @Fyeobt
Design: @deeds.studio (@Dianeadanna)
Writer: @Veeeracity
Music festivals have been an integral part of the music scene for years. They are a great way for artists and fans to connect and celebrate their love for music.
One thing music festivals are never lacking is the diverse artists from around the world who introduce the audience to new cultural expressions and sounds. They help break down barriers, which is a phenomenon in and of itself.. So how did this cross-cultural event come about?
Music Festivals — It’s History
When you think of music festivals you probably have an image of them with various food stands, your favorite artists and the brightest lights. However, they began way before then. Way before all the fancy lights and your favourite artists came to be.
The first festival took place during the Pythian Games in 582 BC in Ancient Greece. The Pythian Games included musicals, competitions, poetry, etc. The audience got to enjoy instrumental performances.
Festivals as you know them today came about around the late 19th and early 20th century. One of the prime examples is the Bayreuth Festival. It began in 1876 and was pioneered by Richard Wagner. It was a yearly event in Germany to showcase his operas.
In 1967, the Monterey International Pop Festival came to be, which is considered America’s first rock festival. In 1968, the Miami Pop Festival was held and then Woodstock in 1969.
Today music festivals are a great source of entertainment, creativity and art. They are big events which help the industry gain revenues and boost tourism for cities. They are also great sources of cultural exchange.
Music Festivals as a Means of Cultural Exchange
Music festivals have grown in diversity and have essentially evolved to a great means of intercultural exchange and celebration. These festivals allow us as individuals to experience how a culture is. It’s also an opportunity for individuals from different backgrounds to come together and interact.
Our world today is quite polarized and music festivals help us embrace the culture that exists in diverse communities. By attending music festivals we get to widen our knowledge of different cultures and traditions.
These festivals also have a diverse lineup of artists. Attendees get to see different artists from different countries with diverse musical traditions. Essentially a chance to experience genres and culture they normally would not encounter. One good example is the Glastonbury Festival in the UK. There’s always a diverse lineup of artists performing everything from pop to traditional.
Also, music festivals are a great place for building relationships with people from diverse backgrounds. Through these interactions we experience cultural exchange. Festivals also come with various workshops on art, crafts and so on giving attendees an hands-on experience that helps with their cultural understanding.
The food and the art at music festivals are also a means of cultural exchange. Food stalls often showcase a range of cuisines from places all over the world so attendees can taste and appreciate the culture of a place they may never experience physically.
There are some music festivals that excel at promoting cultural exchange. Like the Fes Festival of World Sacred Music in Morocco. This festival brings artists from different backgrounds and faith creating a unique experience for lovers of spiritual and traditional music.
There’s also the AfroPunk Festival in South Africa and the USA. This festival focuses on celebrating African culture. It’s a stage for diverse black artists to express their diversity and heritage. Sauti za Busara Festival in Zanzibar is another festival that showcases African culture by focusing on African music. Diverse artists across Africa get to share their traditions and talent.
Music festivals are ever evolving and so is their role in cultural exchange. The world today is so interconnected and music festivals are an exciting avenue for cross-cultural dialogue and understanding. They have the power to create a more harmonious world and that’s something everyone can appreciate.
Eric Bellinger’s pen has no reason to stop its magic. If it did, it could be argued that R&B’s ballads would fall flat of the idiosyncratic nudge his lyrics contribute. Doting an incredible career, thus far, Bellinger can be linked amongst the greats of the global R&B genre. Having penned and contributed to classics for the likes of Usher, Chris Brown, Brandy and Ne-yo, to name a few.
With a nod to the aura Bellinger exhumes, - a somewhat R&B Genie with the power to evoke emotion in the most stern of listeners.
Conclusively, the proof is in the accreditation. The 34-year-old’s cup simply cannot runneth dry, for the sake of R&B and for those who enjoy loaded ballads that promise the party and the bedroom.
Eric’s dimensional talent has spread wide between a family man and a generational song-bird pioneer. The commander and chief’s latest venture, a 2024 tour amalgamated with the future talents of the genre could be the ticket to his fourth term.
On a sunny LA morning, I and Bellinger talk about his prolific career, the stages of grief, his latest offering, the 24-track project: The Rebirth 3 and through hazy yet smiling eyes - his favourite plant strain.
Eric, This time you’ve brought friends with you Zae France, Mozzy and Tone Stith. How has life been back on tour?
It's been good, you know, I like taking my breaks in between, because then when I do come back, it's like, I'm fully there. I missed the stage so I have been home for a while just curating things for the family, making sure that they're good. But man, it is amazing to be back on stage and reminded of who I am. I'll be at home just cleaning up and taking the trash out.
That’s dad stuff though, right
That's the best of both worlds. Being a dad, and a husband but being able to do the songwriter's and artists' stuff, you know, the best of both worlds.
what themes did you want to explore, particularly with the rebirth, I know you've highlighted the party and the bedroom, which is what I expect from your projects anyway. But why those two in particular?
so I looked at it, like, you know, it's a little foreplay, you know, say you don't want to get straight to the bedroom, you know, you gotta have something to warm up the vibes, you know, and I feel like when you play the party side, it's like, you know, you're in the car, you’re lit with peoples, you're getting ready, you’re pre-gaming. And then when you make it home…I got you covered.
you can play with that significant other, and you don't have to press stop, you know, you don't have to say hold on, let me switch the song. Let me switch the song. You can just enjoy the whole al
So this ones for the grown and sexy?
Absolutely.
What's one assumption you wish people would drop about you?
I think it's getting there to the point now, where I'm, like, super pleased with people's perception. You know, sometimes, like, if people know me only as a songwriter, they don't know, you know, the artistry, or if they know the artistry, they don't know the songwriter. But I know a lot of times people expect you to always do what they introduce, or they were introduced to you as they know. So maybe if people can just stop saying, “he songwriters”.
No, no, no I’m superstar - ok? Superstar.
what's one thing you wish people knew about your singer-songwriting process?
It's the most genuine. You know, I don't need much, maybe just the marijuana, a good beat, and some candles.
I might sit there for three hours, but then when the songwriting part starts, we'll only be about 10-15 minutes to completion.
What's one thing you wish people would stop asking you in interviews?
it's tough because I know it's part of me. But people like I think the past people use the past things. Just for familiarity references, do you know what I mean? So like, so tell us about when you do this..I understand that that is what we're doing to break the ice but easy. It's always with another artist from a song that I wrote, which is cool. So I'm saying like, I can't be mad at it. But you know, a lot of times like nowadays I'm definitely like, Yo, The Rebirth Three is my focus like the premier, new singer, songwriter, r&b guy… I'm the guy. But it always starts with the songwriting for other people.
I'm sorry to hear about your mom. I know mothers, you know, mothers carry culture, they carry legacies. To see you go from grief straight back to music, big up you. That takes focus.
I think I'm blessed to have had such a close relationship with her to the point where everything in my daily routine, it reminds me of the teachings. It reminds me of, you know, the coaching and the conversations that we've had together like, man, you know, like, There's mom right there. There's mom right here. I feel her presence right here. And I know that it all is her being proud of me. happy that I was off while she was sick. You know, like, I was able to be with her every single day in the hospital. And, you know, I'm just like, as you said, happy, to carry on her legacy.
Your frame game is always elite. I know for a fact you always have sunglasses on.
Gotta have them all because, you know, I don't want people to see my red eyes. Gotta have the frames. Always. I was deciding between two right now.
would you say glasses are the essential items in your wardrobe, etc?
I feel like that is my definition of an R&B superstar from back in the day when Michael Jackson had the aviator glasses, and then, you know, Usher has always had, you know, those moments when he's like, when he put them off real slow, you know, I mean, like, it's important for me to have the shades.
Then on this subject of the shades. What's your favorite flower strain?
I think right now, but it's switches and switches, you know, but right now, I am in a Blue Dream type of vibe. You know, just a nice hybrid at first, I used to do Sativa to where it's like, Okay, keep me keep me high, keep me high. But now, I think I can tolerate a little bit more. So I need a little bit more percentage, but not quite Indica. I don't want to sleep
You always show love to the hidden and most talented artists - I think that's so special. I think shout out to Jastin Martin, Zae France, Angel and even Lewis Hamilton …
He's so fire.
Facts. But as you said, like people look at you like this guy who wrote for other artists. But right now I'm saying if there was a mob of angry R&B people. You are literally at the front with a pitchfork with a fire burning like you are the guy to me. And, and in this life, like we're hearing so many people talk about how the genre is dead or is dying. How would you say you kind of keep it alive in 2024?
Yeah, I think I'm making the necessary music, instead of making the music that I think is cool. Yeah, normally are like, Oh, this is dope. Let's just do this. It's like, Nah, I'm making the missing music. Like, it's deeper than just an R&B song, a slow beat, a smooth melody. You know, it's also the futuristic sounds of futuristic concepts, you know, like, going all the way with harmonies, backgrounds. adlibs, the vamp, that transition, that interlude, like people aren't doing all of those things. And I'm really taking the time because it's the standard for me. But since it's had, it's not taught to the new generation, it's like, they don't have the reference point that I had.
I can listen back to Dru Hill, Jodeci, Jagged Edge… I know exactly what they did at 3:47 on a song. I know exactly. You know, they modulated like I'm a I'm a student of the game first. And I respect it so much that I just know.
Especially as a songwriter, people are gonna comb through my lyrics a little bit more. They're gonna make sure I'm expecting people to depend on me to come with the fire album, like I'm expecting it. So I can't miss. This is my 39th album. And it's like, I still got three albums in the can that are already perfect. Perfect - from my perspective. So not saying I'm perfect, but they're perfect to me. And that's good enough.
I’d say we lack a consistent flow of artists similar to you or Xavier Omar who love their wives and consistently project ballads and songs around that theme - I think there's something special in that. How do you just keep churning out love songs? How many more times can you tell someone you love them?
I think that's the talent in it. because there are only so many ways that you say I love you or I hate you, or I want to break up.
\So it's like, man, it gets deeper and it gets intricate. And you can break down the layers. You know, like, if you look, listen to the new album, it's so many perspectives, but it is the same thing over and over. So it's just like, how many ways can I say the same thing, but make it sound like it's the first time that the listeners heard it? And that is the gift that is the talent.
38 albums worth?
Quadrillion a million times. But it's different. You know what I mean? Like, even on Goat, for example: “She the GOAT, Shawty bad, slim thick, she my drug, she my fix”
It's like, all of these words are you wouldn't you know, if you break it down, you're like, wait a minute. Oh, wow. He's bigging up women. As opposed to saying I'm the Goat I'm the greatest. And I think women hear that and they relate and they're like, Wow, I must either want someone to talk to me, Or this is the person and I'll just take it as this music. He's talking to me.
What does your morning routine look like?
Waking up, working out. Hot yoga sculpts with the weights. Ladies and gentlemen breathe!
Any Last words?
Yes, my final words, there is no man on this Friday morning and Friday night. For you is to pick a place where you want to be in your life, right? Pick a place where you want to be pick something that you want to do. And you know, a lot of times people stop there. They say, Oh, I want to do that. Or I want to do this. And this is my goal. This is my dream. But instead of writing out the goal, write out the plan. Write out the execution, write out the steps that are necessary to knock out the goal. Faith without works is dead.
CREDITS
Creative Director/Photographer: Zekaria Al-Bostani (@zek.snaps)
Head Stylist: Alicia Rose (@styledbyaliciarose)
Styling Assistant: Abbie Lightfoot.
Second Styling Assistant: Agostino Souza
Gaffer: Duane Jay(@duanejayonset)
Groom: Dalila Bone: (@dalila_mua)
Design: @Deeds.Studio (@ShalemAlone)
Photography Assistant: Shack: (@before_its2late)
BTS Photographer: Kara Blake: (@blakevisions)
Publicity: Hawk Publicity - Harry Wilton: (@harrywilton1).
Interviewer/Journalist: Thandie Sibanda.
Special thanks to La Fayette London for the location - (@lafayettelondon)
What truly is Afrobeats or Afropop?
When you strip it of its essence and you’re simply left with its core, what do you find?
Yemi Alade shows us the core in her new album ‘Rebel Queen’, which Deeds Magazine recently reviewed ahead of the release. The “Afropop Queen'' and global music icon created her sixth studio album and tenth project overall to showcase the essence of African feel-good music.
Affectionately known as “Mama Africa”, Yemi's deep-rooted love for her African heritage adds a unique charm to her artistry. The 35-year-old Grammy award and Latin Grammy award-winning Nigerian singer achieved widespread fame after her hit single ‘Johnny’. Since then she has released several albums including ‘King of Queens’, ‘Mama Africa” and ‘Woman of Steel’ and is now set to release her new album ‘Rebel Queen’.
The new 16-track album set to be released on 26 July features amazing line-up of artist collaborations – among them are Angélique Kidjo on ‘African Woman’, Ziggy Marley on ‘Peace and Love’, Innoss'B on ‘Lipeka’, as well as Konshens on ‘Baddie Remix’.
Let’s dive into the behind-the-scenes of this amazing work of art with Yemi.
What was the inspiration behind the title of the album?
‘Rebel Queen’, the album's title, is a victory name for me and my career so far. It's a victory name for my own personal culture, as I continue to rebel against popular opinion of how Afropop is supposed to be; of how I'm supposed to live my life, but as a woman, and even as a public figure.
The album itself is my interpretation of music that I fell in love with when I was way younger. I'm talking about the songs that I used to listen to when my parents would take me to family parties. I'm referring to the foundation of Afrobeats itself. So I decided to make my own rendition of those sounds that I love dearly. And, that's what it's really about.
Are there any people who inspired the tune for this album?
Honestly, this album is inspired by myself. I am my muse on this album. It's my tenth body of work and it's my best work ever to date. I'm honestly just marking a moment in my life where I feel like this is what I want to present to the world.
What do you want people to feel or learn when they listen to it?
First of all, I want everyone to understand that it was very difficult putting together the selection for the album. Because I record music a lot, making that selection in the first place was one of the toughest struggles that I had. Honestly, it took me about a year, and in that same year I continued to record more music and guess what? More music is there making it into the album, so it was like I was creating the problem, while finding a solution at the same time; so I was moving forward and moving backwards at the same time.
It was difficult choosing songs to be on this album because every song is just beautiful. I had to take out some songs that I will still be releasing as singles, but I just want everyone to know that every song was carefully selected for a special reason. And I honestly believe that it's going to resonate with a lot of people out there.
What can you say about your relationship with the artists you collaborated with on this album?
First of all, these artists are a few of my favourite artists in the world. Each and every one of them is unique and special in their own way. From Angelique to Ziggy Marley, KiDi, and Konshens. I mean, I'm just really blessed to have them share their gift with me on the song and in turn, share their gift with the world. Besides that, man, I just can't wait to share with you guys. I feel like a mother that is pregnant. I just want the world to see this baby.
You got your first Grammy through your collaboration with Angelique, and she's on this album. How did you meet?
Interesting. Okay. So, i've always loved her as a musician and before we met someone had introduced me to her via email, actually the person introduced me to her via her brother's email. So the person had emailed Angelique's brother and cc'd me, and I had spoken to him and told him I love Angelique and I just wanted to say “hi” to her.
He forwarded my email to Angelique, and Angelique said “hi, how are you, my darling?” We continued talking like that via email for about two years; once in a while we would say “hi” to each other. You know, I just loved her so much, I didn't want to put her on my WhatsApp; I never asked her for a number. And then, one day, my manager was like, “when are you going to ask this woman for her number?”
I'm like, “I don't know. We communicate by email and it's fine, right?” He said, “you can get closer to her”. And so I asked her for her WhatsApp number. She was more than happy to give it to me. And it turns out that not long after that, she was coming to Lagos, herself and Awilo Longomba. So they came to Lagos and I was also performing at the same show that they were performing at. And that was the first time I met her. And it felt like I had known her for years already.
Has your relationship progressed since then?
It's a blessing, I guess maybe because I stand to be corrected, but maybe because we tap from the same, very similar roots, and that is the African source. We are unapologetically African. And I believe that that is the blanket that envelopes both of us. She's like my music mother, you know. So, like mother, like child.
Was there anything about your creative process while creating this album that surprised you? Something unusual, or maybe something unique?
Every song has a story and I think, let me choose two songs that were quite surprising. Every time I listen to it, I shake my head.
One is ‘Peace and Love’, which is a song that features Ziggy Marley. That song in particular surprised me because it was a freestyle from beginning to end. I don't know where it came from. It was the last song I recorded at a music camp. So I had taken my team and my producer to Ghana. We had set up at a nice place and we were recording music for a week. And that was the last instrumental I put my vocals on before we left Ghana. And we had recorded over 25 songs already.
And that beat was just playing and I was in the corridor walking out of my room just going towards the living room. I just said, you know what, record me right now. I just kept going and going and going. I had so much we even took some out, you know. But It came from a very happy place. I could see the picture of what I was singing so clearly. I was feeling nostalgic and thinking of the time when I was a kid growing up and there'll be kids in the streets playing football, laughing, clapping, some crying.
You know, just that picture, that moment, I tried to put it in a song at the same time. I just always say that I feel like a vessel. Musicians are vessels, you know.The idea of music is magical. It comes through us, but it's not exactly from us. And that song surprised me.
The other song that surprised me is the song called ‘I'm Sorry’. Because I didn't expect to say the things I said in the song, but everything that I said was just perfect and I stand by it.
‘Karibu’ was my favourite. What was the inspiration behind it?
Yo, that song was produced by Selebobo. We hadn't linked up in a while. So we linked up in Atlanta and we met several times and we were always talking about going to the studio. And I had played him the whole album and he was like, the album is finished now. What's the need? I said, no, no, no, you are missing from the album and he started making the instrumental. He made the instrumental all night and then the next day he returned after, you know, going back home to refresh. He returned the next day and we made the music you know, we made a party banger.
Of all the songs, ‘Bop’ is the one that stands out the most. Why is it so different?
That is a very good observation. And if you have an opportunity to watch me on stage, I literally take my audience to different continents and through different genres. From R&B to Jazz to Salsa to Highlife to Afrobeats back to Makuta and then I take you to Dancehall and Raga and Reggae. So like I'm that one person that would never want to keep my listeners bored. I want you to stay curious. I want you to, you know, take the same pace as I am taking.
‘Bop’ is a raga-influenced dancehall song. It's a song of emancipation, it's a song for champions, really. And to know me as an artist is to know that raga and reggae and dancehall is one of my strengths and one of my favorites. So like most of my core fans they know for sure that there's no way I'm going to release an album without something from that side.
So you don’t feel like you've been constricted to the afro genre?
You know what's crazy? That thing you call Afro and the idea of Afrobeats, It's not just the type of instrumental, it's actually the culture. The culture is the way you pronounce your words, the inspiration behind your melodies, those are the things that are actually Afro. So with that in mind, you can even sing an opera with that same Afro whatever. So in all, I know I'm trying to say that, My Afro influence is who I am.
It is exactly who I am. It does not limit me in any way. I don't feel like it's a limitation. I think I feel very excited when I hear new infusions with Afrobeats because I'm like, wow, where did this come from. This is another take on what we already have. I don't think there is any constriction or limitation or whatever. To take away the Afrobeat will be to take away the accent, to take away the melodies, to take away the style. It's no longer Afrobeat.
Tell us about the listening parties to promote the release?
July has been such an eventful month in between events because I had some shows in New Jersey and in London, and Paris, I think. In a beautiful village in Paris called Carcassonne. It's a very historical village. And in between that, we planned and executed listening parties in central Paris, in central London, and also in central New York, Soho, Manhattan and we will be having one in Lagos too.
To have done this, to set this up for listeners in the same month has been a blessing and I wouldn't say it's been easy. But it's been a blessing to connect directly with people who love my music, people who are music enthusiasts, some people who don't even know my music but they decided that they love the sound. Some people that don't even know Afrobeat at all were also in attendance and it reconnected and resonated with them.
And for Lagos, I'm hoping to wrap it up with a big bang so the album can finally be out.
Evidently, Yemi’s journey that she has travelled to get to ‘Rebel Queen’ is a testament to her authenticity, bold spirit and global domination. Her sixth studio album, ‘Rebel Queen’ drops on 26 July and will be available for streaming and download on all major music streaming platforms.
Meet Leon Söze (born Oladimeji Henry Mustapha in Asaba, Delta State). Leon's musical journey began in his teenage years, influenced by diverse genres. He first recorded in 2018, but it wasn't until 2019 that he dedicated himself to his craft, releasing his debut mixtape "My Excuse Is That I'm Young" in 2020 (under a previous moniker).
After a brief hiatus to address personal issues, Leon returned to music with a renewed passion. His eclectic style is rooted in Hip-Hop, with a focus on storytelling and relatable lyrics drawn from personal experiences, travels, and observations.
Inspired by life, art, and movies, Leon aims to create music that resonates with listeners from all walks of life. His creative process is organic, with each song shaped by his mood, surroundings, and emotions.
Leon's latest project, the "Lost Boy Demo Tape," is set to drop soon, led by the single "Mood" in July. This song embodies the teenage and adult struggles with life, relationships, friendships, and the pursuit of carefree living despite life's obstacles.
With his music, Leon Söze offers a raw, honest, and relatable voice for those navigating life's challenges. Get ready to connect with his unique perspective and style.
Phillip Kayode Moses, more commonly known as Pheelz has recently released the third and final EP, “Pheelz Good II”, which is a part of his acclaimed “Pheelz Good” series beginning in February last year.
His latest project saw him delve into different emotions and personal experiences he had encountered whilst on his journey of self-reflection since becoming a global artist. The tracks featured tell unique tales that explore themes such as love, personal struggles, vulnerability and successes as he aimed to showcase his artistic versatility.
The Lagos-born singer/producer, born June 1994, became most notable for his 2022 collaboration “Finesse” with singer Bnxn, raking up more than 160 million streams on Spotify alone. Since then, he has gone from strength to strength, working with the likes of Usher, Davido and Wizkid to name a few. He has received numerous acknowledgements including becoming the first Nigerian to perform at the BET Awards and earned nominations from the BET and MOBO Awards.
Deeds Magazine had the opportunity to talk with Pheelz where we spoke about his childhood, how he got into music, how he created his latest EP and what is next for him in the future.
To start, thank you for talking to Deed’s Magazine. It is a pleasure.
Firstly, could you tell us about your upbringing; how did you get into music?
I got into music through church. That was the first place I encountered music. Growing up I was a very musical kid. My mum would say I started singing at the age of six months old. Six months old was when I started singing melodies (laughs).
But my first vivid memory was in the church. I had an encounter with the choir while they were singing and there was an experience of emotion in the church. How the song made them feel, how the music made them feel. It looked to me like power. I told myself, yeah, I want this power, I want to be able to do this.
So, how did you get into the music industry and become an artist?
Immediately when I got into the choir and became the choirmaster. I would write songs for church, I would record songs for the church for special programmes and kept doing that. I kept producing as well because I learnt how to play the keyboard, the drums, the saxophone, and the guitar.
I would pick up instruments and just teach myself.
Wow, very impressive.
Thank you.
Then I found out that I could record them with a computer. I think I had a Pentium 2 computer back then. I think it was my brother’s. So, I would download tracks and crash the laptop. (laughs).
I then figured out how to record my vocals and I think that was when I became an artist.
Following this, could you explain how you got discovered?
A friend of my dad’s. He is an artist, and he had a song back then. So, he would come to see my dad and talk to my dad. I was just a little kid so I would run up to him and be like “Oh I make music too” because I had this CD of beats that I had already created. I gave it to him to listen. I then just forgot about it.
At some point, he listened to it a couple of months later and then he came back to see my dad. He said he played it for ID Cabasa. He liked it and wanted to meet me.
A lot happened trying to get my parents to let me go because I was 14 at this point.
So, you were really young?
Yeah, I was very young.
But then at some point, they did allow me.
Did you find that hard considering you were quite young?
It was tough, but I didn’t mind because I was doing what I loved. I was still going to church, still a choirmaster at 14 years old, so I would still have to be in church every Saturday and Sunday.
I had to be in the studio Monday to Friday, to be an intern under ID Cabasa. That was where I met Olamide. Olamide was right there in the studio as well. That’s when we became friends.
I would like to touch on your musical inspiration. Where did you get it from?
My house was like 50 naira away from Alaba International Market. So, I would save up and go there and listen to jazz, Indian music, Nigerian music, and Fuji music.
So just everything?
It was just everything and there was a lot of gospel because of church.
Now that we know a little more about you, I think it is time to move on to your new EP. I did some research and saw it was the third and final one as part of your trilogy series. Could you tell us what is it about?
It’s all about my feelings and emotions. It captures a moment of me figuring it out. I’ve just been through an era of feelings and that is why the music feels all over the place.
There is no one sound that sounds the same. Every track has a different feeling and a different emotion.
What is the message you want listeners to take away from it?
The message I want to send is to be human. It is ok to be human. It’s ok to have flaws, it’s ok to be imperfect. There is perfection in imperfection. The beauty is in the flaws.
That is why I am as vulnerable as I am on “Kamakaze”. These are the emotions that I feel, and it all feels good.
No pun intended (laughs).
No pun intended (laughs).
Ok, when I read your answer regarding your inspiration behind the EP you said, “It allows you to introduce the world to a new style of Afrobeats.” What style did you refer to here and how does it differ from other artists?
I have the power to draft a sound, not just the lyrics but the music, the beats, the look and feel of the vibe. I’m taking it as a responsibility to teach the world that (African music) is a plethora of sound. We can merge with your sound and create this and create that. It is not just one way.
Ok, what was your favourite song that you enjoyed creating on this EP?
That’s not a fair question.
Why?
I don’t have one favourite. They’re all so beautiful and different. They’re like my children.
Ok, top three in no order. Kamakaze, Majo, Fever.
How did you find producing and singing those songs?
It was so much fun.
Were there any tough moments where you struggled to produce songs and what did you do to solve that?
I stop, and I leave it for as long as I can. I almost forget about it sometimes.
I have other forms of expression that help me. Sometimes I paint. My whole studio and crib are filled with my paintings. I do 3-D art and read as well. Just do other things apart from making music. That works most of the time.
Looking back at your career, what has been your fondest/favourite memory since you became a star?
There’s the Dr Dre moment, the Timberland moment, there’s the Pharrell (Williams) moment, my moment with Usher.
It’s hard for me to choose a moment as a favourite. For me, I look at them all as lessons. I’m grateful for all of them.
When did you realise that you had ‘made it?’
It would be the O2. I did it two days after I released “Finesse” and everywhere lit up. Watching 20,000 people singing your song back at you word for word.
That does something to a man.
In that moment it was an out-of-body experience. It was a moment for Davido and I because we were just screaming at each other on stage.
There are so many Afrobeat artists on the market right now. You have Rema, Ayra Starr and Davido to name a few. Why do you think people gravitate towards your style of music? What makes you unique?
Nobody makes music the way I make it. I believe I have a mission that is bigger than me and this is all part of my story.
Do you ever have times of doubt?
Who doesn’t?
I see it as weather. Sometimes it’s rainy, sometimes it’s sunny. I feel like it is important to push through the doubts and anxieties.
I presume this also means you have a great support system behind you to help you through these tougher times.
Yes. I have my best friend. Shout out to my team, to my manager and to God too. Let me give them all shout-outs.
So, onto your loyal fans. I heard they call themselves the “Pheelz Good Tribe”. How does that feel?
Ah that’s what I want, that is what I’ve always wanted.
The Tribe is going to be global man. I call myself the Tribe leader because it's a tribe of people who just feed off each other’s energy.
I like having this personal relationship with my fans. I try as much as possible to find ways for us to get in touch or for them to see my life and understand that I’m human as well.
Did you ever believe you would be where you are today? Do you think you’ve reached your peak?
Hell no. I think this is rehearsals for what’s to come.
Did I predict this as a kid? No.
I just knew I loved making music and I wanted to be a musician. I didn’t care about how big I got or how far I went. I just wanted to be a very good musician. What I cared about most was learning as much as I could and being the best at it.
What is next in your musical journey?
Tours man. Tours, arenas, and stadiums. Where I can communicate with the tribe and we can just have fun, rave, and share moments together.
I want to travel the world. Spend time with my friends and keep being me.
Final question. What advice would you give to upcoming artists?
Try as much as possible to detach yourself from expectations. Also, check your beliefs. Nobody said it would be easy, but no one said it would be impossible.
Keep grinding.
A few things come to mind when you think about Smino and everything he embodies as an artist. The St. Louis rapper has always been known to move with his style and individuality amongst his peers. With four EPs, two mixtapes, and three studio albums, music is one part of his evolved artistry. What has been so intrinsically interlinked has been how he has infused visual art, fashion, and his overly creative expressions to bring it all together in a way that he is so commonly known for.
As we are now, a new era for Smino has arrived, one in the form of pure exploration. 2022's Luv 4 Rent, his third studio album, tied together the moments between blkswn and Noir and the three albums that encapsulated a particular time in his life. Now back, two years after the fact, the first indication of a new beginning was the teasing of a drastic change of him cutting his hair with the release of an Instagram post with him with shaved hair and the artwork of his single 'Mister Misfit but ain't missed a fit in months. Although a false alarm, the message was clear cutting of ones hair tends to signify a change that has taken place and often represents starting something new which tends which for Smino, whose hair has been so intrinsically linked to his artistic identity since he first emerged. It would signify a new change and era among us.
Yet, as we've seen with his signature hair still intact, that time is still among us as he returns to the rawness and grittiness he first felt right back in the beginning. "I want to go back to their raw, gritty shit, and that's my next step. That's my next era." As one progresses in one's career, there's also a moment to hit your stride and go your way. Anyone along the Smino journey can note that consistency has always been present in a way that has threaded his music together so firmly. Yet it feels like going back to basics and returning to the mindset where you feel new again opens up another way of thinking and allows for a different kind of exploration within the music, which is definitely what he is tapping into at the minute. "I've been feeling like a new artist; I can't explain it. I'm learning all over again. I've been trying new things musically, and I think my next project might be my most explorative one so far." He tells me as I raise the topic of what this new music phase feels like to him and what it has been like creating music after Luv 4 Rent. "I know I make a lot of crazy stuff, but it's probably going to be about the most different from my whole catalogue."
There is excitement in the air as it speaks to his feelings of what this new music will be, from what has been heard in the form of 'Polynesian', his summer-ready single. We are in store for some great vibes. Already set up for the summer, having dropped at the beginning of June, it feels like the first proper taste of what's to come. "When I made Polynesian, I was in my kitchen, and I had a little drink, and I just was freestyling for real. I freestyled the whole song, and I was like, this feels good. I said it's about to be summertime, and I want to hear my music outside this summer."
His latest offering, NOKIA, featuring rapper and songwriter Cousin Stizz, also contributes to his promises to deliver on this. The two of them have joined forces on a track that has a nostalgic feeling, continuing his current streak of giving fans a taste of what can be expected with the new music on the horizon.
His Smino summer has also consisted of playing a show to his London fans, having just played an incredible show to the eager fans that gathered under the backdrop of a downpour of rain in typical London fashion as part of the Somerset House Concert Series. Although summer was not giving its best representation, more than the rain was needed to deter fans who came together with umbrellas, raincoats and all to engage and partake in the incredible show he delivered despite the conditions. Enlisting some of his friends from over the pond, rappers Knucks and ENNY, who joined him on stage to play their track Charge It. The energy and vibe of the show were a reminder that as his plight continues in this new era, his fans will be there, ready to show up come rain, snow, or sunshine to show out.
Outside of the music, a few weeks prior to the time of our shoot, he was on a solo trip to London, having arrived to set just by himself and another person not on his team, having just been in London for a brief time before going to Paris for Men's Fashion Week. This was another part of his phase of being an observer and emerging himself in the creative spaces taking everything in, "Right now, I'm on my SpongeBob shit. I'm a sponge right now, I've been seeing what I'm inspired by. I've just been taking stuff in and letting it inspire me and digest in my mind." Fashion is a big part of the Smino brand. People around you will tell you how much style, whether through his clothing or even his hair, is intrinsically linked. Hence, it's no surprise that his being in these spaces and taking in everything serves him well because there is a distinct ease and uniqueness in which he has been able to craft what seems effortless in the way he puts outfits together and creates something so individual to him and his whole vibe.
Unsurprisingly, he thinks of his fashion and style as similar to how he thinks about music, and he is rooted in feeling more than anything else. "I treat everything the same way. So honestly, as far as fashion goes, I get up and wear how I feel. I put on a crazy fit to make music in my living room. If I don't feel it, then I'm not in it." On set, he moves effortlessly through the various looks and embodies the different essences that come across each one, so it's apparent that he is very open to trying anything and operates in a way that means that he can embody how different styles speak to him and how putting together different looks bring out different things within him.Never a stranger to navigating and moving within the fashion space, he is known for his colourful outfits that tend to stand out and are moments within themselves when you look at everyone around. It's also clear to distinguish style and understand that whilst some people are just able to throw together random outfits, the styling of it is where it comes together, and this is where Smino has always been able to distinguish himself from his peers who have no doubt tried to copy and do the same thing to lesser effect. However, in the name of the game, he has always been seeking lesser-known designers who offer something different from what is already out there. Unsurprisingly, Instagram is his primary source of inspiration, looking far and wide for people who speak to his particular tastes. "Instagram is where I find a lot of cool shit. So many raw designers post stuff on Instagram. I'm really big on low-key designers and stuff like that. I don't care to wear a lot of luxury brands, even though I do wear stuff, but as you might find, it's mixed with something low-key. I find that Instagram people they like they got it right now."
Another thing that is a big part of Smino's creative expression beyond fashion is his hair. It is another extension of his how ties in all his creative efforts. Fashion and the ability to dress well represent one part of one's expression in how one shows oneself. However, with the topic of hair, there is something much deeper in how it is rooted in one's identity, and this is something that is not lost on him as we touch on his bold and loud expression of his hair, what it means to him and how it speaks to his artistry. "I'm black, and in a lot of my music, I speak about how pro-black, how proud I am to be black, and how much it means to be black and that we should be unapologetically black. I think one of the blackest, most representative things I can do is wear my hair any way I want." This speaks to the deeper meaning of how black hair is viewed and perceived and the way he has this as something that has been used as a way to degrade and police what that should look like to make others feel comfortable. "For me, I never was with that shit. So I was just like, I'm gonna do exactly what I want. I'm gonna wear two big puff balls, and I know dudes don't usually do that. But I do. You know, I've always just never cared about what other people think."
Carrying in this energy has allowed Smino to elevate to his current state. Forever evolving and effortlessly creating new levels, whether through music or fashion, one thing to note is how he has maintained his authenticity. From the release of Smeezy Dot Com in 2012 until now, he has elevated himself, and one thing that has always been central to that is the love he gets from his fans. Meet a Smino fan, and you will see what loyalty and consistency are about. When you talk or hear about how he is underrated, witnessing how his fans engage with him and hold him down will show you another side to that argument. "I hear it all the time. People say, Smino, you are so underrated, but I'm like, bro, I don't feel it. Every time I do a show sold out, every time I'm wherever I'm at, it's just love. And I think it's because people love when people are themselves because everybody knows what it's like to be themselves."
There is something to be said about the individuality that Smino brings and how his fans and people alike can relate to that, which again boosts how he has been able to withstand his decade-long career through everything that has happened along the way. It requires a focus and a mindsight that lets you not be distracted by the noise of everything around you. "I've always been just patient with the process. I never like trying to rush myself and, you know, race and other people's speeds and lanes. I will be in my vibe and my world."
As the conversation nears the end, so many ties are brought together when thinking about his impact and how he views his art compared to how others view it. That always feels like such an interesting point of reflection for anybody who creates art that is shared with the world. However, that output may be. Especially in how things are consumed today with such a hunger for immediacy and how the virality and quick consumed nature means that things may not always have a chance to live and digest. Yet with Smino, everything he delivers allows you to take it in. Whether it be the time in which he releases music and its frequency or how he engages with his fans at various points outside of just music, there is something to be said for how he has been able to set that wave and be a trendsetter for lack of a better word in the way that people have noticed about him. As previously mentioned, the focus and pure concentration on what one is doing allows him to keep winning in every sense of the word. With a new era of music on the horizon and all sorts of projects not yet shared with me, he is very much working and growing and elevating by way of "a new fashion brand and a whole bunch of different cool things", he things tells me. "My whole goal is to make sure the Smino name and the Smino brand continue to expand and grow." And I can tell you right now, he is well on his way to achieving that.
CREDITS
Photography: Amir Hossain (@blacksocks.studio)
Creative Director: TJ Sawyerr (TJ.saw1)
Stylist: Elshhy (@elshhyy)
Set Design: Sasha Hilton (@sashahilton)
Lighting Tech: George Robson (@geornden)
Graphic Design: Jenny Arrowsmith (@arrwsmth)
Hair: Ana Torres (@iamanaveronica)
Makeup: - Racheal Adedigba (@touchedbyracheal)
Producer: Zekaria Al-Bostani (Zek.snaps) + Seneo Mwamba (@seneomwamba)
Design: @Deeds.Studio (@Manuch1m & @ShalemAlone)
Production Assist: Whitney (@its.whit_)
Set Design Assist: Antony Hariades (@antonyhariades)
Retouch: Oleksandra Zabuha (@aalezab_retouch)
BTS: Rare Film Club (@rarefilm.club)
Cast: Kijuan (@kvstheworld) + Bubzy (@13ubz.y)
Interviewer: Seneo Mwamba (@seneomwamba)
PR: Cabine Creative @cabinecreative
In a time of internet discovery, there is no secret that talent exists on every cruck and every surface across the world. The era of internet discovery has led to incredible talent simply by the right people discovering or coming across the right talent at the right time. Endless examples exist, but for today's conversation, BNXN, formally known as BUJU's discovery of 20-year singer/songwriter Taves's cover of his track 'For Days' led us to one of the latest musical talents.
As you press play on his brand-new EP, 'Are You Listening? You are met with smooth R&B vibes perfectly fused into Afrobeats as the opening track 'Bad Romance' plays. This is just one display of what is available throughout the eight tracks that comprise the project. Taves shows his musical range throughout the EP, which he wanted to ensure he got across with the EP. "I don't want people to put me in a box regarding the type of music I make. Because honestly, I'm an Afrobeats artist, but I'm also a pop artist; I'm an R&B artist. Sometimes l like I'm different things. My music is not one genre." And this is very apparent as you take in everything from him.
His musical beginnings started in his childhood, as tends to be the case for most musicians. His musical influences are apparent in the way he makes music: "There's a lot of music that I listened to when I was younger, and most of these artists most definitely influenced my music one way or another." From the likes of Aṣa on the one hand to Khalid, Ed Sheeran and Bryson Tiller on the other. "Aṣa was because of my dad; when I was younger, we used to go on longer trips, like as a family. He would play many artists, but just Aṣa stood out to me. I was more into R&B artists like Khalid, Bryson Tiller, The Weeknd and Ed Sheeran, people like that". This combination has brought a freshness and something different to what would be expected of an artist like himself. This, of course, is something he is very much tapped into and very much leaning into with this latest release.
As we speak about the EP, very little is revealed about the music, as I have not heard anything beforehand. All I have is a title with some brief context to a number of the songs. However, a few days before its release, a secured stream is sent my way, and I embark on listening through the tracks. It is evident how much of his musical influences have been brought through on this project. Coming a long way from his first EP, 18, dropped in 2021, Are You Listening? has a cohesiveness and an element of confidence that has elevated from the first project. "The EP I'm making now has been coming for a long time, and the songs have changed so many times because now I'm working on a bigger scale. When I was making 18, I made that project for me and my friends to listen too. But now I'm working on a bigger scale. So, it has to be more intentional than just picking songs and saying, okay, this feels right. I have to consider a lot more of the things I did compared to the last project."
2023 was undoubtedly one of the most significant years for Taves thus far, from penning his deal to Atlantic Records to appearing on BNXN's debut album, Sincerely BNXN. All that has happened in recent events has not been lost on the experiences that have since changed his life and, in turn, adjusted his mind and how he has navigated everything. "I'm more confident in myself. The music is way more intentional now than it used to be." As he shifts into a space that is quite intense when you think about the current musical landscape and the pressures that it puts on new artists with the unbelievable amount of music that exists in this space. He has recognised this in terms of how the changes that have taken place have impacted him and how he has been able to navigate and come out of the shyness that he experienced as a child and has since come into his own. "I'm more open as a person, like the people on my team; I share everything that's going on with me with them. Because I don't want it to be a situation where I'm going through something nobody knows. But, like, affecting my mood or my behaviour. And then people don't understand what's happening with me. So, if I do something out of pocket, they know where it's coming from. I feel like being open is something I've had to work on, but now it's improving. And it's helped like the whole team dynamic as well."
Within this new generation of talent representing Nigeria, he is doing it in a way that expands the range of what that sounds like. From the neo-soul sounds, his R&B cuts, and his alternative flares, he pushes the sonic boundaries, all present on Are You Listening? The project has journeyed from its initial concept to its final delivery. It has been something that has been in the works for some time. "When I came up with the concept, this was in December 2022. So, it's been coming for a long time, and many things have changed about the project, the name of the project itself, and the cover art. The songs on the project are so different from when we first decided to make it and the songs on it now. It was originally set to be released in February of 2023 and titled Homecoming with a hashtag and social media teasing that let fans know it was on its way before shifting gears and creating the final version. It seems that it was well worth the wait. "I'm very grateful that I've had to wait this long to put out this project because now I think it's coming out, and it's the best it can be."
Self-assurance and trusting in oneself are themes that come through in the conversation, especially in relation to the process and getting to a point where he feels confident and trusts himself in where he is going with this body of work. When entering a space that boosts a lot of opinions and thoughts, whether via social media, online or even from people around you, one's inner voice and inner self are the most important. Although only 20 years old, having this awareness has already served him so well against the outside noise within his space, and such was the case in arriving at the point where he is now. "I think the most significant change from when we first came up with the idea to now would be that I stopped looking to other people to tell me what is going to happen or what is supposed to happen."
Confidence and a level of elevation happen within an artist's career, where they take control of the wheel—entering the music space at a young age where you are guided by people who are older than you and seemingly know better than you is a gamble that every young artist takes in that they trust that the people in these positions know what they are doing and understand what they are trying to achieve. However, too many times across the board, we have seen that that has been a failed mission and led to some tragic career downfalls. However, it is a learning curve that, once established and understood, the need to lead the charge and take control allows one to shine in the way one wants. However, it is also a journey that comes with time and is something that Taves has just now come to grips with throughout his creative process. "It took me a while just to get to the fact that it's me. Well, not only me; I have a whole team, but it's me, my vision, and I have to be sure of what I'm doing every single time. I have a team I can bounce ideas off, but that final decision is me and me alone. And it's something that as time has gone on, every single time, I'm getting better at it."
As highlighted, there is much to take from Are You Listening? From top to bottom, it's a great offering from Taves and displays him as a next-generation artist who is not scared to try unexpected things outside of what one might expect of him. There is a seamless moment where his influences weave throughout the project and show how his rich musical exposure has allowed him to become the artist that he is. His life experiences and situations that have taken place have also contributed to the lyricism and melodies that bridge together a solid body of work, which is a strong introduction to him for anybody who may not have encountered him, showing that his creativity and music know no bounds. This is something he is hoping will also reach people far and wide. "I don't want people to put me in a box regarding the type of music I make. Because honestly, I'm an Afrobeats artist, but I'm also a pop artist; I'm an R&B artist. Sometimes l like I'm different things. My music is not one genre."
There is also an element of having something to say and letting people know that underestimating him is not an option and that, despite whatever is being said, he will continue his path and forge his way the way he chooses to. "It took me a while to realise I had something to prove. Some people feel like making the type of music I make means I can't go far in Nigeria. I've heard that so much of this music is good, but it will never do anything in Nigeria. Why don't you try doing this or doing something different? However, what I've come to realise is that good music is always going to prevail. That's one thing I'm trying to prove with my project." As you take in the EP as a whole, it's clear that his intentions have been set out, and everything that he wants to put across is apparent in its offering, so there is only much higher he can continue to elevate as he continues on his career.
Rema’s music continues to strive as he continues to consistently delivers quality music. 10 July was no different as he took the approach to release a surprise album titled HEIS, a play on words on his Instagram name “heisrema”. ‘HEIS’ serves as his sophomore album after his successful debut album ‘Raves & Roses’ released in 2022. He also dropped an EP titled ‘RAVAGE’ in late 2023.
Rema has been gracing world stages with his hit music and making appearances in huge fashion houses such as Louis Vuitton and creating music as shown by his unexpected release which follows a different taste and feel to his first album, possibly signalling a new era for Rema.
Rema (born Divine Ikubor) is a Nigerian singer-songwriter and rapper from Benin City, Nigeria. His recognition in the Nigerian music scene is through his popularisation of the Afrobeats sub genre, Afrorave. His music career dates back from his younger years singing in church and posting freestyles on social media.
His debut album, ‘Raves & Roses’ was released in 2022, and spawned the hit single ‘Calm Down’. The album gained commercial success and popularity worldwide and Rema continues to break records and set a new standard for Nigerian music and Afrobeats at large, selling out tours and topping charts whilst proudly showing his heritage through his music. ‘HEIS’ serves as a new era to Rema and introduces the world to a grown-up, more mature sound compared to the sultry, soulful and smooth banger Rema, ‘HEIS’ reveals a hard-hitting, electric and lively side to him..
‘HEIS’ is an eleven track album which reveals a different side to Rema as this piece of work is more upbeat and experimental compared to the usual work we have heard from him. He explores genre-blending as his songs have components of various styles of Afropop, dance, afrorave, punk and soul elements in his softer songs. He only features two artists in the album including Nigerian rapper Shallipoppi for the lead single ‘BENIN BOYS’ and Nigerian rapper ODUMOBLVCK features on the single ‘WAR MACHINE’. His single ‘HEHEHE’ explores a different approach of sound in his music as the rhythm is a juxtaposition to the typical Afrobeats sound as the tempo is more complex and fuses hints of amapiano, afrobeats and punk. His songs lean towards the direction of Nigerian music through the beats complementing the energetic dance nature of traditional Nigerian music.
The exhilarating experience of this album definitely cements his versatility as an artist and also shows his usual style of energy in his music. The fast-paced album has a unique feel to connect the sounds of Afrorave to the world and doing so through the careful curation and production process of each single as Rema still maintains his usual style and flow through his other softer singles . Experimental music has it’s own distinct appeal to audiences however Rema finds a manageable balance to his old and new styles of music style in this body of work.
‘HEIS’ is available on all major music streaming platforms and the pre-released music video for the lead single ‘BENIN BOYS’ is out on YouTube.
Marcus Harvey sets the tone to reveal his true self in his new sophomore album ‘Now You Know Me’ released on 5 July 2024. When he describes the album says “this journey has not only been one where I have introduced myself to the world, but one where I have also discovered who I am”.
The album comes after his EP ‘You Still Don’t Know Me’ released in 2021, through which he dived intricately into a heartening love story. This new album, however, focuses on Marcus’ identity and individuality. He explores various elements of music whilst sticking to his usual smooth, rhythmic flow and dialect of mixing English and his home language Setswana in his lyricism.
Marcus Harvey is a South African singer-songwriter, rapper and producer from Alexandra, Johannesburg. His passion for music began in his teenage years when he started out with the stage name “Hipnautik”. His journey as an up-and-coming musician saw him entering open mic sessions where he began gaining attention from his local neighbourhood and he further signed a record deal with Tales Of The Cool Music, which he also now co-owns. He credits his musical inspirations and influences as Brenda Fassie, Dolly Parton and Michael Jackson, having grown up listening to those artists.
In 2020, He released his debut album ‘I Am Marcus Harvey’ which charted at number three on the Apple Music Alternative Charts. The album dissects the topic of love and loss and the trials and adversities that young people face. In 2021, he released his debut EP ‘You Still Don’t Know Me’ which dives into the theme of love. He has extended his musical horizons in musical features having collaborated with South African rappers A-Reece and Jay Jody and South African producer 031 Choppa.
‘Now You Know Me’ consists of ten uniquely different songs. The alternation of tempo and rhythm within the songs is so meticulously curated to create a pleasurable sound. There is a great balance between the lyricism in English and vernacular, whereby his songs titled with Tswana names and words such as ‘Sechaba’, ‘Mosadi’ and ‘Lerato’ are strictly in Setswana, whilst the other singles have minimal elements of vernacular.
Marcus’ soothing vocals create a sense of serenity blended in the captivating beats. His music implements components of jazz, R&B and hip hop, his versatility is unmatched within the storytelling of his songs and his experimental taste in his music whereby he creates his own unique sound and style of music.
He shares about the relatable path of the life of a young person discussing work life, heartbreak, love and success yet his jazzy instrumentals can co-relate to the sounds of early 90’s music , further reaching a wider gap of old school music lovers and touching base on the timeless genre of jazz. His album is mostly a solo project with only one single ‘Legendary Living’ having features from South African rappers Maglera Doe Boy and 25K.
‘Now You Know Me’ is available on all music streaming platforms and the two singles ‘Malume’ and ‘Lerato’ have pre-released music videos available on YouTube.
Music is a powerful force for connection within people. Music allows for people to connect through the use of lyricism and the relatability of life through the dark times and the great times. Music forms a deep message and memory through life’s experiences and moments. TerryTheVoice uses his vocals to show gratitude and praise in his new single ‘Alhamdulillah’ featuring Nigerian rapper Zlatan.
The experiences in this song range from Terry’s personal experiences within his personal journey in life, struggles and firm faith and belief in a higher power. The word “Alhamdulillah” is an Arabic phrase which means “praise be to God/Allah”, which is commonly used within the Islamic community. This song is a reference to the praises and faith towards his God through all the changes and circumstances in his life.
TerryTheVoice (born Ugochukwu Terrence Odenigbo) is a Nigerian singer, voice actor and Grammy member from Enugu, Nigeria. His major genres are Nigerian Hip Hop and Nigerian Altè. The Philadelphia-based artist translates his Nigerian sound to the world, starting his career as university radio presenter then made the move to music in 2021 with his debut EP ‘The Voice’. His accolades include recognition from major music platforms TRACE and MYV Base and his independence as an artist as he represents himself under no record label. TerryTheVoice has amassed over five million streams and continues to produce quality music overtime throughout his rising career.
‘Alhamdulillah’ was released in February 2024, serving as TerryTheVoice’s first release of 2024. The song features female harmonic elements which add to the “praise” component of the single. The duo speak about their humble beginnings stemming from experiencing not having any sense of financial freedom, such as having to go through having an empty bank balance. Despite the trials and tribulations, they consistently express that their lives will never stay stagnant and they will succeed and thrive.
The chorus serves the lyric: “I be no getty nothing my brother, I be getty nothing, Now we making money Alhamdulillah”, referring to the Pidgin dialect saying when one was not getting an income, but now they are making money, and so praise be to God. This song acts as a form of manifestation as many people can relate to the trials faced when trying to thrive in life but the situation will prevail and anything is possible through Christ.
The blend of Zlatan’s rap verse creates a unique feeling to the upbeat track as the song consistently stays upbeat to evoke a positive, faithful emotion rather than a negative, melancholic feel as the song aims to uplift, strengthen and motivate the listener.
Religion is mildly used as the main theme of the song. However, it is done in a manner that creates a sense of triumph and as a way for the listener to vibe to all the elements of the song, including the beats, lyrics and overall tone of the song without trying to create a sense of disenchantment to the battles one faces in life. The music video of the single starts in a classroom which shows the beginning of one’s life and continues to emphasise that we all start somewhere before we make it to where we want to be in life.
The message of ‘Alhamdulillah’ is to send the message of never losing your faith through the obstacles in life and also being able to praise yourself and your higher power for thriving to victory in life’s journey and pursuit. Faith, conviction and belief all form a part of your life and the message is to always stay positive.
Alté – a fusion genre of music that combines elements of afrobeats, dancehall, reggae, hip hop, and alternative R&B coined in the 2010s by Nigerian music group DRB LasGidi – has broadened the range of Nigerian culture and music. This genre has been around for years and is only getting better and more mainstream. The emergence of Alté is lived through the fine example of artists such as BOJ, who served as a pioneer of Alté.
Bolaji Odojukan , better known as BOJ is an English-Nigerian musician and producer. He is also one third of the group DRB LasGidi. Born in London, UK and raised in Gbagada, Nigeria, his career has expanded considerably throughout the years and his solo career has seen him expand beyond measures. His last album, ‘Gbagada Express’ soared to new heights and levels with his fusion of tempos, vocal styles and the overall style of sound he produced. His musical education stemmed from his younger years citing Lauren Hill, Wyclef Clef, Lagbaja, Fela Kuti and Bob Marley as his main music influences and he began making music in Year 9.
2007 was the start of BOJ’s career as he joined the music group DRB LasGidi with his schoolmates Fresh L and Teezee. He released his first solo project in 2014, the mixtape titled ‘#BOTM’. In 2022, Gbagada Express was released and included features from Nigerian music giants such as Wizkid, Davido, Tiwa Savage, Fireboy DML, Buju and Victony, to name a few. So far, BOJ has released the singles ‘Love Garden’ featuring Adekunle Gold and ‘JABO’, featuring ODUMODUBLVCK for the year 2024.
‘JABO’ was released on 5 July 2024 and the single features Nigerian singer-rapper ODUMODUBLXCK. The song has a melodic beat which fuses amapiano and dance components, flowing well with BOJ’s mellow vocals. The rap verse from ODUMODUBLXCK introduces an upbeat element to the soothing beat, yet the contrast matches due to the flow and rhythm of his lyricism matching the pace of the song.
The genre-blending in the song allows for both sides of BOJ and ODUMODUBLXCK to create a unique approach as the direction of the song is to create an anthem for the dance floor which was executed through catering different sounds and introducing an interesting dynamic of blending Nigerian elements with other styles of music which is ultimately what Altè is about, the fusion of different genres to create one distinctive sound further evolving the beauty and art of music.
The choice of lyricism is in the serenading of a woman as they describe the dance moves displayed by women in a romantically intimate and sensual manner. The song empowers the emotion felt by being with your partner on the dance floor and the choice of lyricism is through language as the artists combine English and Yoruba to express themselves fluently through various forms for audiences to grasp their message.
BOJ uses his music to celebrate, romance and evoke an emotional connection of love through his music . He redefines the culture of music through his ability to convey his emotions through various genres and his deep soothing voice complements every form of delivery in his music.
Simisola Bolatito Kosoko, widely known as Simi has once again captivated her fans and new lovers in recent album ‘Lost and Found’, which was released on 5 July, 2024.
Simi began her career as a gospel artist in 2008 when she released her debut studio album titled “Oga Ju”. She became widely popular after her song “Tiff” was nominated Best Alternative Song at The Headies 2015. She launched her label Studio Brat in 2019 and has released popular songs like “Duduke”
Her 14 new track album is a testament of how she has mastered the art of producing soulful songs, while still maintaining her ability to tell a tale in such a captivating tone that it sticks to your soul.
The cover of ‘Lost and Found’ depicts Simi finding treasure, which is in line with the theme of the album, which the artist uses to explore the art of finding yourself even when the version looking at you in the mirror seems like a stranger.
On ‘Lost and Found’, she’s finding and discovering herself and reclaiming her chemistry with music. She tells tales we are all familiar with - love stories. She also features various artists including Lojay, Ladipoe, Bella Shmurda, Asa, Falz, Tiwa Savage and Chief Commander Ebenezer Obey.
The album opens with ‘Lost and Found’ which is all about falling just to rise again and learning all the lessons in between. Simi’s vocals are quite soothing as she belts us this song about rediscovering- it’s something hypnotic.
Across the album, it’s easy to see Simi’s craft as an album artist as all the tracks blend so amazingly together and it’s a beautiful transition from one to the other. This was so prominent in the switch from ‘Miracle Worker’ which features Lojay to ‘Gimme Something. ‘Gimme Something’ centers on a deep longing for something soothing.
It’s no surprise that the fusion of vocals by Simi and Ladipoe is a beautiful work of art. ‘On Know You II’ the message is the twisted ways of love. It passes a message of wanting between two lovers who are at different sides of the same love story.
On ‘Alafia’, her collaboration with Bella Shmurda which is one that has been a long way coming. Their sound together is wreck gutting raw and emotional. Simi’s mastery of delivering masterpieces that blend right in her album is one that is truly admirable as “All i want” essentially illustrate desires from a romantic loved one and ‘One of One’ is the perfect song to follow, as It tells a tale of finding the one, something everyone can relate to.
Her collaboration with Falz is one that we’ve certainly missed and the amazing chemistry of these two artists is still as great as ever. In ‘Borrow Me Your Baby’ they sing of borrowing someone’s partner. It's such an upbeat song for the story it’s telling.
‘RnB Luv is a melodious song right from the start that hits the heart. ‘Woman to Woman’ is a beautiful praise for the woman. It’s such a confidence booster and a beautiful reminder that the everyday woman is such a work of art
The album comes to a close with ‘Jowo’, a sample of Chief Commander Ebenezer Obey’s ‘Olomi Gbo Temi’, and it features the man himself, and together the two close off the album with a beautiful high-life sound. Overall, this album is a beacon of hope to everyone who’s searching for themselves, searching for their love story or simply searching. While many of us may feel as though we’re lost, listening to the album sets us on the path of being found. If this is what Simi can deliver with her vocal performance and lyricism, then there’s undoubtedly a lot more in store in the future.
Afrobeats is taking over the music scene and we’re here for it! “Nigeria’s Most Wanted Tour’ opened up withJeleel’s real raw energy and continued with Deto Black’s sultry vibes to the stage. We caught up with theartists and had an exclusive sit down with the headliner, the “Most Wanted”man himself, Odumodu Black! Here is what they had to say about their music, purpose and much more
JELEEL
Jeleel on his identity and development as an artist
Afrobeats has always been my thing, I make a lot of different music. One of the songs that blew up was “Dive In” whichwas more like rage music. I am an African Rockstar — that’s the music I’ve been making, that’s music that is true to me. I am African, I am justputting my own twist on it.
Jeleel on performing
Performing is like drinking water to me. I was born to do this.
DETO BLACK
Deto Black on self-expression in her music
I love having a voice and being able to use it for women like me I think it’s really important and music is a way to saythe things you don’t really get a chance to say in a regular conversation
Deto Black on what’s next for her
Just dropped my single ‘Naija Babes’ and I’m excited for the video to come out also working towards my second EP sowatch out for that!
ODUMODU BLACK
ODUMODU on his preshow routine
I like to sleep.
Odumodu on being signed to a label and why he makes music
Basically, signing to a record label just helps amplify your talent, and get your music to where you might not have been able to get it to, maybe it can happen in a quicker time that helps you build confidence and you need to understand why you are doing what you’re doing. Cause people make music for the wrong reasons; some people make it for fame or just for money, not saying those are the wrong reasons but in general people make it for the wrong reasons. These two years have made me understand why I am doing it.
I do it to spread the truth, for people to know what is happening in society, even with some of my lyrics they may sound funny but when you look at it, it’s real. I am always trying to paint a picture and also on an inspiring note, I am fromAbuja, the fact that I can do this thing and it can work— that means people from Abuja can do it, people from Calabar can do it, etc. People don’t have to go to Lagos or don’t need to stay there for it to work for them. I am like an instrument of light for the other people to see that it’s possible, it can be done, regardless of where you’re from.
ODUMODU BLACK
Odumodu on working with the Native Records team
That’s my family, our visions are aligned. No long talk! I have known them for some time and I knew that if I was goingto do this music thing, I would work with them. We speak the same language.
Odumodu on being authentic in your cultural identity and truth
It’s like saying white and trying to tell people it’s black. That’s like my music. Even down to the way I talk to uberdrivers (in America), I try to make them know I am from Nigeria. Immediately I talk they know seh I be Nigerian person.That’s why a lot of people like me because when I come into the game, I was living the life that a lot people are already living and wanted to live but you’re not really comfortable with it. For example, in Nigeria, people will say the way I talk is “razz” but I am really educated — see the way I am talking now. I can talk like this and say “hey what’s up how are you” what is your thought process...and I can still say “guy how far? wetin dey sup? Wetin dey reason” (Nigerian Pidjin/ vernacular). You see in every city, I try make sure they know it is me, that it’s okay to be like this cause that’s the only way to be yourself. if you try to do something else it’s just going to fail, you will not be able to keep up with it again. But me, the way I am, the way I came out, when they hear I did something they say “ah don’t worry, it’s Odumodu, it’s normal” I took early blows to be able to live comfortably now. I have already given myself the excuse to be who I am. My twitter for instance, some artist can’t Tweet the way I Tweet because they didn’t start off like that, for me that’s how I have always been.
ODUMODU BLACK
Odumodu on purpose
You gotta use every resource you have to get to that place of purpose. I know what I want to do for myself, I know howI want to change the world.
Odumodu on education and bridging the gap in his lyrics
I’m a student of Fela, Malcolm X, Martin Luther King, I have read their books. Education has always been important, learning has always been important and even in my lyrics I try to bridge the gap with people who are the upper echelon and the people who are “down below”. In “Blood on the Dance Floor” I say something like “Odumodu fela fulu decipher konji” the word konji is like a slang in the streets in Nigeria. The CEO of a bank will probably not understand the meaning and someone in the streets doesn’t understand the meaning of decipher. When I say decipher konji, the guy on the street wants to know what decipher is because he already knows what konji is and when I say konji, the guy in the upper echelon knows what decipher is, he wants to know what konji is. So I use my education to try to bridge that gap!
Odumodu on his legacy
My own legacy is about togetherness and helping people. Helping out the gangsters that I was coming up with that we’re still coming up, cause at the end of the day people are really hungry in the streets so that’s part of why I make music, to help people.
PARIS, FRANCE – 21.06.2024 – Au Vodka, the premium vodka brand renowned for itsluxury and style, joined forces with iconic clothing brand Avirex to host an unforgettableevent during Paris Fashion Week. The exclusive gathering took place at L'Empire du8ème drawing fashion aficionados, celebrities, and influencers from around the globe.
Hosted by global superstar French Montana, the evening featured an impressive lineupof special guests, including chart-topping artists Lil Tjay, DDG and Stonebwoy, alongsiderising stars JELEEL! and French sensation Zola. The event brought together an eclecticmix of musical talent, highlighting the intersection of fashion, music, and culture.
Guests were treated to an array of bespoke Au Vodka cocktails, crafted to perfectionand served with flair, enhancing the glamorous atmosphere of the event. Thepartnership between Au Vodka and Avirex showcased the synergy between fashion andpremium spirits, creating an ambiance that resonated with style and sophistication.
The Au Vodka x Avirex event marks another successful venture for the brand in aligningwith influential partners to create unique and engaging experiences for its audience. AsParis Fashion Week continues to set trends and push boundaries in the fashion industry,Au Vodka remains committed to fostering connections and leaving a lasting impressionon the global stage.
Nasty C has had an extremely dominant career spanning close to a decade. He has achieved so much and continues to do so whilst representing South Africa and Africa at large. He is the epitome of South African Hip-Hop and the Hip-Hop culture through his success and passion for music. His ability to explore and explore his range of versatility is incredible to witness.
On 3 July 2024, Nasty C took to his X (formerly known as Twitter) account to announce that he will start off his ‘I Love It Here’ Tour in Europe and the United Kingdom (UK) in October, and will be touring the major cities in Europe and the UK. He further engaged with his audiences to let it be known that he would love to tour other countries in the world aside from those already set.
Nsikayesizwe David Junior Ngcobo (professionally known as Nasty C) is a South African rapper and record producer from South Africa. He was born in Diepkloof, Soweto Johannesburg, but relocated to Durban with his father after the passing of his mother. He has two siblings and his older brother influenced his decision to become a rapper, after he learnt the basics of music production from him at the tender age of nine.
At age 14, he released his debut mixtape titled ‘One Kid, A Thousand Coffins’ in 2012. Two years later , he released his debut EP ‘L.A.M.E/Levitating Above My Enemies’. In 2015, his sophomore mixtape titled ‘Price City’ was released which produced his hit single ‘Juice Back’ which was his rise to fame. The single’s remix, ‘Juice Back (Remix)’, featured Nigerian singer Davido, South African rapper Cassper Nyovest and was produced by Malawian-South African producer Gemini Major.
Following the success of ‘Juice Back’, Nasty C released the single ‘Hell Naw’ in 2016 as the lead single to his debut album , ‘Bad Hair’. The album reached ultimate success as it reached #1 on the iTunes local charts and became the most streamed album in South Africa within its first 24 hours. He further released a 15-minute short film directed by South African video director Kyle Lewis featuring the singles ‘Don’t Do It’ , ‘Good Girls and Snapchat H*es’ and ‘Phases’. The film reached commercial status, featuring in several countries including the United Kingdom, United States and Germany which was rare and exceptional for an African music video at the time.
‘Bad Hair’ featured collaborations from South African artists such as Cassper Nyovest, Rowlene, Tshego and Tellaman. The deluxe album, ‘Bad Hair Extensions’ was released, included four new songs and a feature from American rapper French Montana for the single ‘Allow’. He received multiple awards that year in South Africa including “Best Freshman”, “Best Male Artist”, “Song of the Year” and “Best Hip Hop Album” and he earned an international nomination for the 2017 BET Awards for “Best International Act: Africa”.
Nasty C further his career by signing a distribution deal with Universal Music Africa and Universal Music Group Nigeria in 2018. He released two singles titled ‘Jungle’ and ‘King’ featuring American rapper A$AP Ferg as the lead singles for his second album ‘Strings and Bling’ released in July 2018. His sophomore album was named as one of South Africa’s best hip hop albums by TimesLIVE. Nasty C dabbled in other ventures and projects included the establishment of his own record label, his Ivyson Tour and ambassadorship deals with Axe South Africa. He continued to win more awards namely two AFRIMA Awards for “Best African Rapper/Lyricist” and “Best African Collaboration”.
He released his third studio album, ‘A Zulu Man With Some Power’ in 2020 featuring his long-time collaborators Tellaman and Rowlene and international features including American rappers T.I, Lil Keed and singer Ari Lennox. He further on signed a joint venture agreement with American record label Def Jam Records and released the EP ‘Lost Files’ which included singles that did not make it onto his already released albums and projects. He won the Best Male Rap Act Award at the 2020 African Muzik Magazine Awards. In 2023, he released his fourth album ‘I Love It Here’ which debuted at number 1 and announced the dates for his joint African Throne World Tour with Cassper Nyovest. His tour for ‘I Love It Here’ is set to begin in Europe with further venues and dates to be revealed.
Nasty C continues to grace the world with his talents and music. Internationally, he has learnt to embrace his audiences in various parts of the world and continues to navigate the industry and the world of music through the love for his fans. The ticket sales went live on 5 July and his Europe stops include Paris, London, Berlin, Amsterdam and Cologne. His tour will commence on 18 October 2024 until 25 October 2024, and tickets can be purchased from his official Linktr.ee.
DJ KO: Yo, yo, yo, what's good? It's DJ KO and you're rockin' with Deeds Magazine.
Deeds Magazine: What should we know about you?
DJ KO: So, I think the most important thing to know about me is that I'm Nigerian and I'm from New York. If you know anything about New Yorkers or Nigerians, you get me.
Deeds Magazine: What is your favorite music genre?
DJ KO: My favorite music genre is R&B. I feel like it's just always on the frequency I want to be on. I like to chill, not too much stress, and R&B is just that for me.
Deeds Magazine: Who are your dream collaborations?
DJ KO: Fun. Number one, really, like, I can't wait to make music with Arya Starr. Like, I feel like it's going to be really fun. And who else? Pharrell. That would be amazing. I feel like it would be crazy. Like I just, I just want one Pharrell hook. We'll do the rest. Just one Pharrell hook. Brazy. Yeah. Those are my picks. I don't think I've worked with her yet, but would look forward to it.
Deeds Magazine: What advice would you give your younger self?
DJ KO: Just be more honest with yourself. Like the sooner you're honest with yourself and are able to have honest conversations with yourself you'll know what you want more you will find yourself in front of the things that you want, you won't waste as much time, you won't beat around the bush. It'll be like a lot easier and more direct, you'll get to doing the things you want to do more, so like if you want something that's big like it's gonna be hard to get, so you're gonna have to put in a little bit of pain, so don't be too impatient just be prepared.
British Summer Time Hyde Park kicked off its 2024 edition on the highest of highs when SZA took to the stage to bring fans a show that was bigger and better than what we have seen from her before.
Before arriving at that moment, the day was a beautiful offering of music, food, and vibes that made for a perfectly spent day in the sunshine of Hyde Park. Kicking things off on the Great Oak Stage was up-and-comer Elemine, who set the tone for the day. He entertained audiences as they arrived at the park, bringing his velvety vocal talents to the crowd.
The sunshine was a great backdrop against all the vibes and energy that spread across the park. Amongst the music, there was a variety of food and drinks, and overall, the atmosphere of the festival made for a very chilled and relaxed day in the park, taking in everything.
Other artists, including Sekou, Hope Tala, and No Guidnce, graced the stages throughout the day. All of them brought their unique style and energy to the stage, showcasing the diverse and rich talent present throughout the day. No artist felt out of place on the line, and in the lead-up to the headliner, each brought a different aspect and sound, displaying a perfectly crafted lineup for the day.
Standouts outside from the main moment was Snoh Aalegra. Her return to the UK after a two-year absence was a moment many fans had been eagerly awaiting. Her set was a powerful reminder of her talents as she dazzled fans for an hour. Not bringing anything else apart from beautiful vocals and a stunning voice, it was a stunning reminder of her artistry and reminded crowds of the absence in the music space since the release of her last album. It further cemented the UK's love and appreciation for her as the crowd sang along word for work, soaking in her vibe.
Sampha also did not disappoint, bringing his multidisciplinary talents to the stage at the afternoon's peak. Having experienced him earlier this year at his headline show and previously in the context of a church, the Oak Stage was a different setting for me; however, he once again delivered on all fronts. Engaging in the energy joined by his band members on stage, they brought a solid set to the audience. They brought forward all his musical vibes and talents as he executed a fun and energising hour-long set.
As the moment of the day approached, the crowd was filled with anticipation, eagerly waiting to witness the build of her set. The unique stage design, a departure from what was seen at the SOS Tour, added to the excitement. Those like myself who have witnessed her play on a festival stage know that she can deliver a show, and so it was a thrilling anticipation of what that would be.
When she finally emerged, she delivered something that surpassed anybody's expectation of what that show would be. Her fresh production to the stage, unlike anything seen before, left the audience in awe. It was a show that not only displayed how she continually evolves but also how she surprises and impresses her fans with something new every time.
Taking us through her eras of CTRL and SOS, her mic was crystal clear and smooth as she flexed her artistry and showed us why she was worthy of headlining the Great Oak Stage.
The setlist highlighted all that is great about her, from fan favourites like 'Broken Clocks 'Supermodel 'Drew Barrymore' 'Normal' 'Kill Bill' 'Snooze' 'And nobody Gets Me', to name a few. The entire set kept the crowd's energy at an all-time high, creating a shared experience from the moment she stepped on stage to when she left with them singing along word for word for every single song.
This performance and its placement at this point of her career signified a shift toward the next era we will step into post-S.O.S. while also reminding us why she will always remain one of the most relatable artists out there. Her storytelling and artistic ability continue to let her shine.
With a series of electric energy oozing from every corner, the Paris Fashion Week just got wrapped up and the most beautiful memory wasn’t just the latest trends that got both the attending crowds and online cheerers buzzing. Our favourite African music stars were present, rubbing shoulders with fashion royalty and turning heads with their own perfectly unique styles. The world of music rocked with fashion to create a heart-popping harmony, more than ever before. With the spotlight swaying towards music, it sparked curiosity about how fashion would influence the music the attending artists created.
Without forgetting the fact that other Western artists attended the fashion show, it is necessary to point out the amazing spotlight on the African celebrities this time around. Are their upcoming albums going to be as runway-ready as their outfits? Music lovers might be in for body-swinging moments because we're about to explore the rhythm and rhyme behind this exciting fashion-music fusion!
The annual thrilling and exciting week wasn’t just a show of models this time around, it incorporated celebrities of different calibres. Louis Vuitton, the popular high-end voguish fashion brand participated in the Paris Fashion Week Men’s Spring/Summer event and launched several Menswear collections on the runway show, last Thursday. The world of music collided with fashion as the show comprised 60% musical artists.
Louis Vuitton decided to parade their collections in the beauty of several African artists, showcasing the blend between music and fashion. Directed by Pharrell Williams who recently took over the creative director role (His debut show titled "The World is Yours,") after the demise of Virgil Abloh, the powerhouse fashion brand gave a tantalizing combination of outfits to artists who were invited. His models descended a grand staircase in identical white outfits while a stirring soundtrack set the mood. This dramatic presentation blurred the lines between fashion shows and musical performances.
The likes of Wizkid and his partner, Jada Pollock, Burna Boy, Adekunle Gold, Rema, and Tems openly flaunted their newest collection of Louis Vuitton outfits at the Parisian UNESCO courtyard where the event took place. They were spotted in the front row with other famous people like Rihanna and the Kardashians. Other African celebrities like Omar Sy, Uncle Waffles, Stormzy, Didier Drogba and others were also sighted at the event. They were spotted not just in the crowd but in the front row, showing off their royal invitations.
The event sprouted several joyous and proud moments on stan Twitter and Instagram as fans drooled at the several shots of their favourite artists that were being posted online either by media houses or on their personal accounts. Fashion has always taken a share of the music industry for ages with the likes of ripped jeans, oversized shirts, tracksuits, sneakers, and prominent logos. These two worlds were always interwoven and it is very applauding to see the African continent getting their share of recognition by gracing fashion shows and getting top spots.
Serving as a field for connections that can birth genre-bending collaborations, there were several swooning moments with artists of completely different continents, genres, and styles conversing and linking up at the dinner table. Adekunle Gold was seen making a toast with the South Korean artist Jackson Wang and teaching him the Nigerian slang “Chop life o” which means to enjoy life as much as you can. He also dropped a jaw-dropping picture of their moment on the internet for fans to swoon over.
Whether fashion has blended into music or vice versa, the fans are ready to accept the new trend with open arms. This is not a new thing for the Western and Asian artists but it’s a new development for the African side of the continent. This fusion isn't just for show; it's a powerful way for artists to express themselves and for fashion to tap into the energy and cultural influence of music. We've seen the hottest trends and how our music heroes are rocking them. From electrifying fashion shows to music videos that double as mini-runway exposés, the lines between these creative realms are blurring beautifully.
Finally, with African music stars taking center stage at fashion week, the future is looking like a vibrant collaboration where the hottest tracks come with the freshest looks, and every concert feels like a front-row seat at fashion week and editorials that could walk straight off the catwalk. The energy from Afrobeats and other African music genres is inspiring designers, creating a whole new vibe on the runway with the expectation of these artists to infuse their music with the bold energy and innovative spirit of the fashion world. It's a win-win for fans! The future of fashion and music is a fusion explosion because this exciting fusion is about redefining how we experience both, and we're here for it!
Jules Renard said something we would never forget, and it seemed the quote had found its way into PapaRaZzle’s life. “Just add three letters to Paris, and you have paradise.” – Jules Renard. PapaRaZzle found himself in the most beautiful city in France; Paris, for an impromptu schedule that lasted a week, and decided to dispense a melodious souvenir to his fans through his new EP, ‘I’m In Paris And I Miss You.’ The EP contained seven mellifluous and energetic tracks that weaved together an enthralling mix of Afrobeats, R&B, soul, dancehall, and pop music.
Ridhwan Babatunde Shittu, popularly known as “PapaRaZzle”, is a London-based afro-fusion sensation who has carried the world of music on his shoulders, contributing his honourable best to the fast-rising Afrobeats genre that is taking over the world rapidly. The legendary artist who hailed from Ibadan, Oyo state in the western part of Nigeria has constantly reshaped the music landscape with his innovative sound that earned him critical acclaim from powerhouses like MTV, Wonderland, and BBC 1Xtra, just to mention a few.
His breakthrough in the United Kingdom earned him several top spots on the iTunes chart across Europe and Africa. From Russia to Belgium, without leaving Malawi behind, his songs have never been boxed in a particular genre. His music has set him apart among his peers and carved a place for him in the hearts of music enthusiasts worldwide, with his last single ‘Sunset And You’ and other songs like ‘Angel’. His constant push towards musical boundaries has earned him over six million plays online and poised him to forge a legacy of inspiration with his energetic music.
He successfully got the platinum-selling French producer, Lisa Tz on board after he first connected with her via Instagram DM, and created an electrifying magic with other French producers, Saan and Racy J. His long-time collaborators, Nahz Rashid, Jaemally Beatz, and HBEATPRO were also in on the production of an appealing collage of soundscape that birthed a masterpiece of several beats, genres and euphonious EP.
The title track ‘Pilot’ with the electro, urban/Hip-Hop and R’n‘B vibe expressed the artist’s feelings as he experienced the beauty of flying higher across borders to find the love he had always yearned for. “Let me be your pilot / Let me take you higher / I’ll make you fly high / I’ll make you fly” portrayed his artistry of comparing the joy and feeling of love to the flowery feeling of being in the cloud. He mentioned “I’m here for the music, and I’m here for the love,” voicing his intention of not losing out on both desires. The elegant and calm track showed a flair of beautifully reverberated percussions that gave the song a magical and dreamy feeling with a serene Paris sunset as the backdrop, like a love movie shot in Paris.
Moving to ‘Paris,’ which showcased the beauty of the African genre, copulated with electric guitar sounds to produce an energetic pop backed by piano and synth, the artist confessed that he just wanted to give the love of his life a good time. “Kilode kilode omoge / make we dey dey dey / we go need sometime away” sneaking in some rhymes at the last stressed syllables of his lyrics. This only proved his professional lyricism and worthiness as a composer and songwriter.
PapaRaZzle took us through an exciting ride on the ‘Miata’ track. The track made mention of the Mazda Miata which is a two-seater car perfect for a summer ride. “Make we link up / make we fit take a ride in Mazda Miata”. Mentioning that they are his motivation and the museum that inspired him, ‘Angels Singing’ captured the joys of a campfire night with friends while ‘Come Back Home’ carried his pain of lost love through the soulful sounds accompanied by heavy rain downpour in the background. “You are supposed to be here taking over the world with me, but you dey with someone else / oh my baby, come back, come back to me”.
“Love don show me pepper / I get high and I fall down / but I still want the romance / I want the love of my life,” portrayed him as a hopeless romantic who will never give up on love, even though he has experienced several disappointments in the past. He closed the lush and ground-breaking EP with the track ‘Music makes me feel better’. The superb track made of a mix of alternative and electro-pop with the accompaniment of choirs relayed his message of wanting happiness all his life. He confessed his desire to only enjoy himself throughout his lifetime, which is one of the wishes of mankind.
PapaRazzle got a beautiful gift from Paris and shared it with the whole world. We can only expect more of his melodious songs in the future. With over six million streams on Spotify, he has solidified his feet in the music garden, and it is safe to say that he is not stopping anytime soon. As you go about your day expecting a text from a lover, looking forward to a vacation with friends or family, ‘I Am In Paris And I Miss You’ is worthy of accompanying your activities to ginger you all through.
Afrobeat singer, David Adeleke popularly called Davido took the world by storm when he wedded his wife, Chioma traditionally on Tuesday, 25 June 2024 in Lagos, Nigeria. The star-studded wedding with the hashtag #CHIVIDO24 was well attended by the elite, Lagos State Governor, Babajide Sanwo-Olu, former President, Olusegun Obasanjo, Ooni Of Ife and other celebrities by invitation.
The wedding immediately became the most trending topic on social media. This followed online personality Do2tun's warnings to other artists that they don’t attempt to release any song or album during the week of the nuptials, encouraging them to wait until the weekend so their music does not get lost in the noise of Davido’s wedding.
Chioma Rowland, whose last name is now officially Adeleke, has been in the news for some years as the woman by Davido’s side. The two lovebirds met in school and have been together ever since. Even when Davido’s alleged numerous cheating scandals came to the light of the public, Chioma refused to leave him. Critics of the Grammy Award nominated singer often cast aspersions on Chioma’s integrity when insinuating that she is only staying with the singer for his wealth and fame.
Davido And Chioma’s Son, Ifeanyi’s Death
In November, Davido's son, Ifeanyi Adeleke drowned in a swimming pool in the singer’s mansion in Banana Island residence, while the singer and his then lover, Chioma were away attending an event outside Lagos state. Ifeanyi, who was found submerged underwater, was first noticed by the cleaning staff. A source from the Davido family says that the child was in the water for a long time before he was discovered. And, while they pulled him and rushed him to the hospital, it was, unfortunately, too late.
The news of the death threw the African entertainment industry into mourning, as fans and colleagues took to social media to send their condolences to the singer and his family.
Davido Baby Mama Saga And Scandals
Davido, who broke into the Nigerian music scene with his debut hit single, ‘Damiduro’ is one of the celebrities touted as the next 2baba when it comes to having kids from different mothers. Davido had his first kid, Imade Adeleke with his now estranged baby mama, Sophia Momodu when he was barely 20. Since then, he has gone on to have kids with different women.
Matters came to a head when Davido was caught on tape with different women, especially black American “baddies” who often post evidence of the singer’s cheating lifestyle for the public to feast on. Anita Brown, one of the women Davido cheated with, gained prominence in Nigeria when she posted photos and messages of the singer’s plea for her to terminate her pregnancy. Anita trolled the singer for weeks in a widely publicised scandal.
Netizens, who were obviously angered by the disrespect Davido is showing his long-time girlfriend, Chioma called on her to break up with the singer. However, Chioma ignored all the pleas and instead took time out from social media, refusing to grant interviews or rant online about Davido’s well-documented philandering ways.
Chioma’s response to the call to ditch the singer is rare, especially in a country like Nigeria where many citizens always seek social media validation in the things they do. This virtue, along with the tragedy that the couple suffered with the loss of their son, are perhaps the reasons why Davido finally decided to settle down with the chef.
Davido has always shown his admiration for Chioma whether online or offline during interviews. Davido’s ‘Assurance’ single reassured Chioma that no matter what happens, she will always be the one who matters most to him among the different women that cross his path.
It is no longer news that Chioma now finally has the keys to Davido’s heart after putting up with the various scandals. However, as their love story continues, critics are on the lookout for yet another scandal despite the nuptials, as they believe not even marriage can tame a man with the same level of fame and money that Davido has.
If anything, the union promises to be a long journey of love that will require more patience and tolerance, the levels of which far exceed what Chioma has shown prior to their tying the knot. Will making it officially be what finally helps Chioma tame Davido’s wandering eye, and keep their union intact? That question will continue to test the resolve of the two lovebirds.
Africa’s Giant and Grammy winning artiste, Burna Boy stands twice as tall as he made history on June 29, 2024 to become the first African artiste to sell out the 80,000-capacity London Stadium twice!
The Glastonbury’24 is one of the stops for his record-making 'I Told Them' tour.
Arguably the best on stage musical performer in Africa, Burna’s stage presence was nothing short of the usual - a masterclass in showmanship, London holds a special place in his heart and he showed this as he effortlessly enagaged with the audience throught the course of the show, encouraging sing-alongs and call-and-response interactions.The atmosphere in the stadium was electric from start to finish.
The concert had several opening acts, starting with a comedic performance by Sabinus, the nigerian skit maker and comedian who had the audience roaring with laughter, the opening lineups also included Phyno, Omah Lay, Seyi Vibez who perfomed Giza with burna on stage, and the duo of Odomodu Blvck and Shallipopi who performed their hit song “Cast”.
The production of the concert was top-tier as expected. Burna Boy also debuted his new stage design at the Glastonbury 2024, he has changed his microphone from red to silver, he was dressed as a cowboy in full Louis Vuitton which might be indicating a new era!
During the course of the concert, Burna performed his award winning hits and fan favorites such as; Gbona, Dey Play, Location, Sittin’ on Top of the World, Big 7, Talibans Remix, Giza, City Boys, It’s Plenty, and much more. The live performance with his band - The Outsiders added more soul to the production of the concert, making sure the gbedu was felt.
Some special performances include the remix of YG Marley’s “praise Jah in the moonlight” and Coldplay’s unreleased collaboration with Little Simz and Burna Boy.
With this feat of Burna has clearly shown, he is clearly in a league of his own, One pea in a pod.
It was a massive night for South Africa and Africa at large, as South African acts Tyla and Makhadzi won “Best International Act” and “Best International Artist” respectively at the 2024 BET Awards. Tyla also won a second award for “Best New Artist”, cementing herself in history as the first non-American to win in that category. Makhadzi was nominated alongside fellow African artists, Seyi Vibez (Nigeria) and Tyler ICU (South Africa) for her respective category.
The BET Awards ceremony, which took place on Sunday, 30 June in Los Angeles California, honours and celebrates the achievements of black artists in the categories of music, television, film and sport. This year, American actress Taraji P Henson took on the mantle of host, with Canadian rapper Drake having earned the most numbers of nominations (7). He was followed by Nicki Minaj (6), while R&B artists SZA, Victoria Monèt, Beyoncé and rappers J Cole and Sexyy Red all earned five nominations each. Tyla earned four nominations alongside Usher, Doja Cat and Megan Thee Stallion. Notably, this year, Usher was also honoured with the “Lifetime Achievement Award”. The list of performers on the night included Megan Thee Stallion, Victoria Monèt, Kaytranada, Will Smith, GloRilla, Tyla, Ms Lauryn Hill, her son YG Marley and Wyclef Jean.
Makhadzi (born Ndivhudzannyi Ralivhona) is a South African singer from Ha-Mashamba, Limpopo. At the age of 13, she started her career by performing at taxi ranks, earning money from people’s gratitude offerings. She then joined a musical group called Makhirikhiri as a dancer. She began working on her music career after she left dancing and in 2009, 2011 and 2012, she released three albums titled ‘Muvhango’, ‘Ndo Tshinya Ni?’ and ‘Litshani u Ntsala Murahu’. She released her fourth album ‘Rita Dee’ in 2014, gaining the attention of Rita Dee Entertainment in 2015 and signed a record deal with them after the release of her fifth album ‘Muhwalo Uya Ndemela’.
Makhadzi released another album titled ‘Yo Shoma’ in 2017 where she received two Fame South Africa awards for “Best Female Artist” and “Tshivenda Best”. Her studio album ‘Matorokisi’ was released in 2019 and it peaked at number two on local iTunes/Apple Music South Africa charts.
She has since collaborated with fellow South African artists such as ‘Jerusalema’ hitmaker producer Master KG, singer and rapper Sho Madjozi, musician and dancer Moonchild Sanelly and Amapiano DJ and pioneer Kabza De Small. She separated from her record label and established her own label, Makhadzi Entertainment and began working on her sixth studio album, ‘Mbofholowo’ which was released on 1 September 2023. The album garnered one million streams in its first 48 hours and was certified platinum in South Africa.
She was announced as Spotify’s Equal Ambassador later that month. Makhadzi’s achievements include two South African Music Awards, one Metro FM music award and one Basadi in Music award. Internationally, she holds a Nickelodeon Kids’ Choice Award and now she has her first BET Award.
Tyla (born Tyla Laura Seethal) is a South African singer/songwriter from Johannesburg, South Africa. Her passion for music started when she started posting original songs and covers on her Instagram and thereafter sending those videos out to multiple industry figures. She was discovered by Garth von Glehn, who organised recording sessions for her. In 2019 after finishing high school, she released her debut single titled ‘Getting Late’ featuring producer Kooldrink, achieving national attention and success in South Africa. She garnered seven million views on YouTube following the release of the music video and received a South African Music Award nomination for “Best Music Video of the Year” in 2022.
At the time of her debut single’s success, she was studying towards a degree in mining engineering but she managed to convince her parents to take a year off school to pursue her music career. She was then signed to American record label Epic Records and released two singles, ‘Overdue’ and ‘To Last’. In 2023, Tyla released ‘Been Thinking’ and it became her first Billboard charting single, entering the charts at number 36 on the Mainstream R&B/Hip Hop AirPlay charts.
She made her first public appearance at the Dolce & Gabbana after party for Milan Fashion Week. She then joined American singer Chris Brown for his “Under The Influence Tour” as an opening act. She released another single titled ‘Girl Next Door’ featuring Nigerian singer Ayra Starr and released her biggest single to date ‘Water’ in July 2023 as the lead single of her self titled debut album. The song gained popularity on the video sharing platform TikTok via a dance challenge and instantly became a hit in several countries worldwide. Water also made Tyla the youngest South African artist and first South African solo artist in 55 years to enter the Billboard US Hot 100 Charts after South African jazz artist Hugh Masekela’s entry into the charts in 1968.
Tyla went on to perform the hit single on the Swedish talk show ‘The Bianca Show’ and the American late night show, ‘The Tonight Show with Jimmy Fallon’. The music video was released on 6 October 2023 and amassed 3 million views on YouTube in 72 hours. Tyla announced the release date of her debut album set for March 2024 and simultaneously released three singles titled ‘Truth or Dare’, ‘On and On’ and’ Butterflies’ following her announcement. Her debut album included features from Nigerian singer Tems, American rappers Gunna and Travis Scott, American singer Becky G and South African amapiano DJ Kelvin Momo. She has also collaborated with South African amapiano artists such as Daliwonga, Young Stunna and Major League DJz.
She received her first international award at the 66th Annual Grammy Music Awards in February 2024 for the inaugural “Best African Music Performance” for her performance on Water. With this, she made history as the first recipient of the award and the youngest African artist to win a Grammy. Her additional international awards now include two BET Awards and an electrifying performance of her hit single ‘Jump’ featuring American rapper Gunna and Jamaican dancehall artist Skillibeng on one of the biggest award shows in the USA. In her home country, she holds the most nominations for the 18th Metro Music Awards with six nominations.
Both Makhadzi and Tyla have shown great representation for their country and continent by raising the bar even higher for African music at large. Representation at international award ceremonies is imperative for the growth of Africa and showcasing to the world the talents that Africa has to bring to the world stage. As global recognition for African artists grows, seeing these musicians being celebrated and appreciated internationally for their artistry, should instill nothing but pride for all Africans, no matter where they may be in the world.
Maeta's latest EP, "Endless Night," is a collaborative masterpiece with production mastermind Kaytranda, the hypnotic combo made magic by blending R&B and electronic music to create an electrifying and smooth experience. Released on June 21, 2024, this seven-track project has quickly become a summer favorite among fans and critics alike.
Endless Night is the follow-up to Maeta’s 2023 EP, When I Hear Your Name. The project included her No. 1 hit “Through The Night” featuring Free Nationals.
Despite its short runtime, "Endless Night" manages to feel cohesive without being repetitive. Each track offers a slightly different flavor, keeping you hooked on Maeta’s vocals, which are arguably the strongest they’ve ever been yet. She delivers with power and finesse, effortlessly navigating the hypnotic grooves laid down by Kaytranada. With just 7 short tracks, "Endless Night" feels more like a summer fling than a long-term commitment.
Our favorite tracks in no particular order include “DJ Got Me”, “Endless Night”, “Turn Me On” and “Up All Night”. This is an album you should definitely add to your summer playlist!
This one prime example is through Rema and Shallipoppi’s new single ‘Benin Boys’ released on Friday, 21 June 2024, also a part of Rema’s first release of 2024.
Rema (born Divine Ikubor) is a Nigerian singer, rapper and songwriter. He discovered his love for music from an early age and he notes his mother as a significant influence in the way his life is shaped. He performed in churches when he was younger and was recognised by Nigerian artist D’Prince.
Rema released his self-titled debut EP in 2019 which features his breakout song ‘Dumebi’. His first EP topped Apple Music’s Nigerian Charts and his songs were included in the FIFA 21 soundtrack. He further continued to release three EPs and in 2022, Rema released his first album titled ‘Raves & Roses’, which features his popular song ‘Calm Down’. The collaborators on the album included multiple notable artists such Chris Brown, Selena Gomez, 6lack, AJ Tracey and Yseult. He went on to win various awards including the MTV Video Music Award for Best Afrobeats Video. His deluxe version of ‘Raves & Roses’ became the first African album to cross two billion streams on Spotify. In 2023, he released the five track ‘Ravage’ EP.
Shallipoppi (born Crown Uzama) is a Nigerian singer, songwriter and rapper. His career started with him freestyling on the video sharing platform TikTok. He garnered his first breakthrough in 2023 with his single ‘Elon Musk’. Shallipoppi was recognised by Apple Music on their "It's Up Next” programme and went on to release the remix of ‘Elon Musk’ which featured Nigerian artists Fireboy DML and Zlatan. He has since released his first EP titled ‘Planet Pluto’.
In 2024, Rema and Shallipoppi collaborated on the single titled ‘Benin Boys’. The title of the single a “no brainer” seeing as the duo both originate from Benin City, Edo State, Nigeria, which is vastly known for its beautiful agriculture.
The music video for ‘Benin Boys’ was released on the same day as the single release and has since gained over two million views in three days on YouTube. The eye-catching visuals capture the city where they grew up, highlighting their success through their current lifestyle, whilst being in touch with their roots.
The video showcases their Nigerian roots and they blend their passion of music, culture and dance. The single is a representation of their home state and the vibrancy of the city. The song fuses the sounds of Rema and Shallipoppi seamlessly, as the upbeat nature of the track and use of language mainly English and Pidgin create a unique blend of the duo’s sounds.
The lyricism discusses their perspectives of success, community, heritage and pride in a positive sense as they acknowledge that their success is due to their pride as men from Benin City and as Yoruba men. They still feel a strong sense of belonging before and after their fame in their home, while representing their home, and maintain that they are always Benin Boys.
Anthony Ebuka Victor, popularly known as Victony, released his debut album “Stubborn” on the 21st of June 2024”, Known for his global hit "Soweto," Victony’s new 14 track album is a powerful narrative of overcoming adversity and turning life’s challenges into art. “Stubborn” has quickly risen to No 1 on the Nigerian Apple music chart and is charting in 43 other countries, the album is a significant success for the Nigerian Afrobeats artist.
The album opens with "Oshaprapra," a fast-paced, energetic track that sets the stage for the themes of resilience and defiance which features talented singer Shoore More - “I’ve been through hellfire, still mo shaprapra”, - Victony declares, letting us know that nothing can break his spirit.
Speaking on the album at the listening party in Lagos, Victony stated, “The meaning of ‘Stubborn’ goes beyond what the title implies. This album is a true representation of my story and everything I’ve had to overcome over the past few years. It’s not about just reflecting on the trials and tribulations that you inevitably face, but also relishing in the abundance that life has to offer and authentically staying true to who you are despite what anyone has to say. I'm excited for my fans to hear what I've been working on for years, as well as the masterful productions and artist features that went into making this album.”
The title track "Stubborn," featuring Asake, is a standout piece that encapsulates the essence of resilience and unwavering determination. The song chorus opens with Victony asserting, “Me I no dey hear word o, I stubborn, me I no fit be your idolo, I stubborn,”. These lines lay bare his stance of authentically staying true to who he is despite external influences. Asake’s contribution complements Victony’s flow, enhancing the track’s message with his distinctive vocals.
Other standout tracks on the album include his collaboration with Shallipopi on “Ludo” and “Anita,” a solo by Victony himself. "Tiny Apartment," featuring SAINt JHN, blends Afrobeat with a touch of R&B, showcasing Victony's versatility and telling a candid story of intimacy. "Slow Down," featuring Teezo Touchdown, provides a more introspective vibe, balancing the album's overall energetic tempo.
Victony will embark on the "Stubborn" North American Tour starting August 8th, kicking off in Boston and hitting major cities before concluding in Los Angeles on August 23rd.
On 12 June 2024, embattled king of Nigerian street music, Azeez Fashola, popularly called Naira Marley returned to the social media in a move that has now been interpreted as a push to revive his already shaky music career. The Marlian record boss took to social media where he shared a screenshot advising Marlians – the name he coined for his fans not to care about what others think of them.
The screenshot read:
“As a Marlian what people in the world think of you is not your business”
In another post, he wrote:
His post immediately generated backlash from netizens who took to the comment section to share their views. Many of whom slammed him for being a bad influence on the youths.
A follower with the handle @Laykay0808 wrote:
Another user wrote: “Oya na come release song make we de see the people weh go help you stream am”
Another follow who called the attention of Naira Marley to the fact that the movement has died wrote:
“Marlians not existing anymore dude”
Going by the post, Naira Marley has a big hurdle to scale if he has to revive his music career.
Why Nigerians Cancelled Naira Marley
Naira Marley enjoyed his reign with many hit songs and collaborations to his credit with some of them moving up to the number one spot in different music charts and streaming platforms.
The controversial rapper turned singer who returned to Nigeria from Peckham, United Kingdom, is noted for his non-conformity to the rules of Nigerian society. Naira Marley’s fame got to the zenith when he was arrested by Nigeria’s anti-graft agency, the Economic for Financial Crime Commission (EFCC), and remanded in Kirikiri prison. He warmed his way into the hearts of many Nigerians, especially the youths, with his banger, ‘Soapy’.
Marley incorporates his lifestyle into his brand of music capturing the hearts of many Nigerians, many who are youths and teenagers. This continued for some years until he had issues with his now deceased signee, Mohbad which eventually led to the latter leaving Marlian record.
In a video that went viral, Mohbad has since been repeatedly assaulted by a group of boys he claimed were sent by Naira Marley. Although Naira Marley denied the allegations claiming that Mohbad was under the influence of drugs, the allegations did not go away.
All hell was let loose when Mohbad died in 2023 in controversial circumstances. This immediately generated a lot of speculation with allegations pointing towards Naira Marley as having had a hand in the untimely death of the singer. During this period, several videos of Mohbad’s assault went viral on social media including that of Naira Marley’s close associate, Sam Larry who was seen attacking the late singer during a music video shoot with another artist, Zlatan.
There were calls for the investigation and arrests of Naira Marley who was out of Nigeria with his associate Larry when Mohbad died. Eventually, the duo were later arrested and detained by the police and granted bail. Although the two have not been directly linked to the death of Mohbad, they are attacked online at any slightest opportunity.
There is also the issue of royalties of some of the songs of Mohbad which are being held by Naira Marley. According to reports the case is still in court, though some Nigerians expressed the sentiment that the Marlian boss should release Mohbad’s royalties to his management since he is deceased.
Angry Nigerians have since been tormenting Naira Marley and Larry anywhere they find them including their social media. This has not only affected Naira Marley’s music career, but also that of his signee, Zinoleesky who received the same level of attacks on social media. The two have been cancelled to a certain degree as the music they have released since the death of Mohbad has received little or no attention from most Nigerians. They have also not been listed among artists to perform at major shows in the country and some radio stations in Nigeria have gone as far as banning the playing of Naira Marley’s song on air.
A look at the social media posts of Naira Marley, and Zinoleesky shows that they still have a long way to go as it regards reviving their careers which is on its way to oblivion. Judging by these comments, it is difficult to establish that the average Nigerian who once enjoyed the music and the culture of Naira Marley, and attended his Marlian concert would want to see him perform on stage without embarrassing or attacking him. Even his die-hard fans popularly called Marlians have since deserted him.
In a few months, it will be a year since Mohbad passed away. Even though the autopsy that was recently released by the police did not directly point to Naira Marley or his associate, it is difficult to conclude if Nigerians are willing to forgive the number one Marlian boss who they once named the king of the street.
One question that has sparked intense reactions in the Hip-Hop community in Nigeria is whether Rap music as the genre, and subsequently the culture, seems to have been relegated to the background as the Afrobeats genre gained the upper hand.
Nigerian rap music took centre stage with hardcore rappers battling in heavily contested rap battles. There were even moments when organisations sponsored these rap contests and it garnered a lot of reviews from rap music lovers including those who ordinarily do not like rap as a music genre.
What Happened To Nigerian Rappers?
Many events have led to the collapse of rap music in Nigeria prompting many music lovers to switch to the now-popular Afrobeat that is gaining more attention globally.
In the 90s to early 2000s, rappers like Eedris Abdulkareem, Eldee Dee Don, Six Foot Plus, Mode 9, Rugged Man, Freestyle, Weird Mc, Terry ThaRapMan, Nigga Raw launched their rap careers opening the eyes of many music lovers in Nigeria to their creativity.
As Nigerian artistes began to attract investors with local content, many rappers who were in love with the rap culture joined the train. Lord of Ajasa who mostly rapped in Yoruba proved that rap does not have to be only in English. Lord of Ajasa was joined by the late indigenous rapper, Dagrin whose debut album “CEO” was a huge success, especially coming from a rap genre background. Nearly all Nigerians loved his album because of the infusion of Yoruba language into his rap lyrics and punchlines. After Dagrin’s death, Olamide came into the picture with his rap skills and infusion of Yoruba language into his lyrics just like Dagrin.
Before Dagrin’s death, Mr Incredible, popularly called MI had also created a path for himself in the rap industry, Mi’s rival was a Unilag Philosophy graduate called Vector D Viper with his perfect diction and use of English. For years, both MI and Vector created the urge in the minds of their fans by beefing each other in their rap songs.
The Fans Appetite And Rise of Afrobeat
While rappers might take a share of the blame for allowing their beloved genre to be relegated to the background, it is important to note that the influx of mainstream artistes or Afrobeat singers caused the decline of rap music. Unlike rap, Afrobeat is one of the continent’s biggest exports attracting new artists as well as investors to channel their money into the music.
In 2022, music critics, including rappers were shocked to their bone marrow when American rapper, Rick Ross visited Nigeria for the ISL Easter edition concert. The show had in attendance a lot of Afrobeat singers such as Tiwa Savage, Davido, Cavemen and others while no one from the hip-hop community in Nigeria was in attendance.
Rapper MI who felt it was a slap on the hip-hop community took to his social media to lambast the organizers for shunning rappers in Nigeria.
He wrote:
MI’s outbursts signify that rap culture is gradually being replaced by mainstream artists with Afrobeat sounds.
To be fair to rappers, ‘Hennessy Cypher’ – which is a rap contest between rappers that’s sponsored by Hennessy used to be a big event and it was even televised for people to watch. Over the years, however, as rappers either quit rapping or switched to mainstream music, the show has since lost its appeal.
The dynamic appetite of the audiences in Nigeria has also contributed to where rap music finds itself today, especially with the prevalence of the internet in Nigeria, as well as promoters and record labels. The goal of any investors, or record labels is to make returns on their investment which may not be the case if a rap artist is signed.
Mainstream artistes including Wizkid, once declared that rap is dead in Nigeria sparking angry reactions from rappers in Nigeria. Whether Wizkid has been proved wrong with his statement remains another question yet to be answered.
While rap music and culture seem to be a thing of the past in Nigeria, some rappers have taken up the challenge to resurrect this culture but can they bring up the rap culture that once dominated the music industry in the country?
How long can they keep up the fight amid the paucity of funds and investors? That question is blowing in the wind.
Karol G's first night at the O2 Arena in London was nothing short of spectacular. As part of her MAÑANA SERÁ BONITO tour, the Colombian superstar delivered an electrifying performance that left fans in awe. The concert, which took place on June 18, marked her tour debut in Europe and showcased why Karol G is one of the leading figures in Latin music today.
Karol G, who has had a record-breaking year, became the first female artist to reach number one on the Billboard Top 200 with a Spanish-language album and grossed an impressive $145 million with just 18 show dates.
The concert opened with a set from DJ Daiky Gamboa, who had also supported Karol G in her European shows in Amsterdam, Cologne, and Zurich. Karol G took the stage around 8:20 PM, kicking off a nearly three-hour performance that showcased her powerful vocals, dynamic stage presence, and emotional connection with her fans. The setlist featured a mix of her biggest hits and new tracks from her latest album, including "TQG," "Provenza," and "Bichota," along with fan favorites like "Tusa" and "El Makinon".
The concert also featured special guest appearances from Becky G, Feid, Peso Pluma, Romeo Santos, and Tiësto, adding an extra layer of excitement to the evening. Karol G's ability to connect with her audience was evident, as she often paused to interact with the crowd, sharing heartfelt messages and expressing her gratitude for their support.
Overall, Karol G's debut at the O2 Arena was a resounding success; the Columbians’ Icon stunning performance highlighted her talent and the significant impact she has had on the music industry. Her performance was a celebration of her accomplishments as well as a preview of the incredible shows on her European tour that are still ahead.
Kenyan rapper Lil Maina has rapidly emerged as a vibrant and influential voice in the East African music scene. With his distinctive style, authentic lyrics, and an unyielding passion for his craft, Lil Maina has captured the hearts of many, both locally and internationally. Born and raised in Nairobi, his music is deeply rooted in the realities of urban life, blending Swahili, Sheng, and English to create a sound that resonates with a diverse audience.
Deeds Mag: Can you tell us about your background as an artist and what inspired you to pursue music?
The name is Lil Maina. I’m born and raised in Nairobi, Kenya. My inspiration to pursue music was the people around me and the place I was living in. My uncle showed me some of their songs back in the day.
Deeds Mag: What inspires your music, and are there any specific themes or messages you aim to convey through your songs?
What inspires my music is what is happening around me so basically real life situations. There are specific themes and messages that I aim to convey through my songs depending on differing things like my mood or what I’m feeling on that day. I can talk about love, I can talk about people I am having a problem with personally. It depends on how I’m feeling really.
Deeds Mag: How would you describe your musical style, and are there any artists or genres that have influenced your sound?
My style of music is mainly Genge. The artists who have heavily influenced my sound are Mejia, Lil Wayne, Vybz Kartel, Konshens, Rema, and Jua Cali. The genres that have influenced my sound are hip hop, genge, and dancehall.
Deeds Mag: What is your songwriting process like? Do you have any rituals or routines that help you create music?
My writing process is really simple. The routine that I have is that I make sure I have done everything I was supposed to do before starting to write. Sometimes there's no routine, I start off by writing on my notes and then continue later. I also write before heading to the studio for a session. But when I am alone in my house, I can write while recording.
Deeds Mag: Can you share a memorable moment or experience from your career that has had a significant impact on you?
A memorable moment in my career was when Adekunle (Gold) came to the country (Kenya). I wanted to see him perform but my fans recognized me from the crowd and they carried me to the stage. Knowing that I had a fanbase made me go to the studio to work on a song with a Kenyan artist called Ndovu Kuu and that became my breakout single called ‘Kishash’.
Deeds Mag: How do you approach collaborations with other musicians or artists? Is there anyone you dream of collaborating with in the future?
The way I approach collaborations with other artists is to ensure they have the same sound or a vibe that I like. I try as much as I can to not make it strictly business because I feel like the connection needs to be there for our song to work. I really dream of collaborating with Rema.
Deeds Mag: How has your music evolved over the years, and what do you think has contributed to that evolution?
My music has greatly evolved over the years. I started off with parodies and I feel like right now I can present my craft to someone with a lot of confidence. The constructive criticism has contributed to that. Another thing is my maturity. I came to the game younger, so my age and the critics have helped my growth.
Deeds Mag: Are there any upcoming projects or releases that your fans can look forward to?
I have an EP and a mixtape on the way. The mixtape is from my collective, Watoto Wakorofi, and the EP is a solo project coming soon.
Deeds Mag: What advice would you give to aspiring musicians who are looking to pursue a career in music?
The advice I'd give them is to never quit, put God first in everything that they do, pray for their craft and everything will be well.
The Recording Academy, the company behind the infamous music show the GRAMMYs, has revealed new plans to support music artists in Africa and the Middle East.
In a press release, the Academy announced it had reached agreements with various Ministeries of Cultures and important stakeholders in Kenya, the Kingdom of Saudi Arabia, Nigeria, the United Arab Emirates, Rwanda, South Africa, Ghana and the Ivory Coast.
The main focus of this strategy aims to create more educational resources and cross-cultural learning that celebrates the music history tied to these regions. It will also help improve knowledge concerning intellectual property, as the organisation seeks to strengthen its presence within the rapidly expanding music scene.
Ababu Namwamba, Kenya’s Cabinet Secretary for Youth Affairs, Sports and the Arts said: “It should be no surprise that Kenya is delighted to be among the four champions of this effort, alongside our sister nations of Rwanda, Nigeria and South Africa.
“This is a historic opportunity to hoist high and celebrate Africanacity through artistic and cultural expression, while fostering innovation, creativity, fraternity, and solidarity for African people in African and beyond.”
The Academy’s leaders, including its CEO Harvey Mason Jr. and President Panos A. Panay have spent the past two years travelling throughout these regions, going on tours and demonstrations to gain a wider understanding of the markets both from governmental ministries and local music content creators.
“This is exciting because music is one of humanity’s greatest natural resources,” Mason said.
He continued: “It is critical that the people who dedicate themselves to creating music have support, resources and opportunities, no matter where they are from.”
The key initiatives the Academy will explore include:
This comes after a long history of African success at the award show with winners including artists such as Angelique Kidjo and Burna Boy.
2024 also marked the introduction of the inaugural Best African Music Performance category which focuses on showcasing the musical talent stemming from the African continent with South African popstar Tyla winning earlier this year for her song “Water”.
Davido, who was nominated three times in this year’s GRAMMYs, expressed his views surrounding the recent announcement.
He stated: “As an African musician, I am excited about the Recording Academy’s expansion into Africa and the Middle East.
“This initiative offers a platform for creators, elevating our cultural expressions and uniting us through music.”
The expansion comes as the Academy celebrates its 25th anniversary of the Latin GRAMMY Awards in November this year and follows the first international GRAMMYs which were hosted in Seville, Spain last year.
Since his debut studio EP, “The Artist Freestyle” (2020), Matthew Daniel, better known as Arcydan, has been on a journey of musical exploration and discovery. A true creative spirit, Arcydan finds inspiration in the artistry of others, often putting his own spin on popular tracks by breathing new life into them.
His versatility as an artist shines through in his ability to seamlessly blend genres and create music that transcends boundaries. Drawing inspiration from the likes of Saint Jhn and Burna Boy, Arcydan infuses his music with a captivating blend of heartfelt lyricism and irresistible grooves.
His latest music project with Deesick, titled “Moment”, showcases his growth and evolution as an artist. Each track seamlessly blends intricate melodies and powerful rhythms, creating an immersive listening experience that leaves a lasting impression.
About Deesick
Ayodeji Daniel, better known as Deesick, is a Nigerian R&B and Afrobeats musician. Born on July 8, 1994, he made his very first studio recorded single in 2015 titled "IBADI" and then went on to record his first mixtape titled The Sound Monster in 2016.
After undergoing much-needed artist development, he discovered his sound on his official debut project titled FAR, released in August of 2021. This music project featured a fine blend of R&B, Afrobeats, and House music, showcasing Deesick’s unique music delivery style and songwriting prowess.
In 2022, he released his sophomore music project, Sickness SZN, a three-part music series that fully solidified the sound identity that he had established with his FAR music project. Reflecting on his musical roots, Deesick recalls the impact of Styl-Plus's Expression (2006) album, which sparked his love for R&B.
He also draws great influence from Aṣa, learning the basics of songwriting when he first bought her Aṣa (2007) album. Chris Brown is also another great influence in the early years of his music development. His Exclusive (2007) album inspired Deesick's passionate music delivery style.
Looking ahead, Deesick aims for global recognition, chart-topping hits, and sold-out headline shows across continents. His latest music project, Moment, in collaboration with Arcydan, features three sonically distinct songs that capture the best parts of both artists’ creative talents.
Interview with Arcydan and Deesick
Q: Can you tell us about the inspiration behind your latest project, Moment?
Arcydan: The inspiration came from our desire to create something different and refreshing in a year where much of the music feels uninspired. We wanted to blend our favorite elements of R&B and Afrobeats to create a sound that's both familiar and new.
Deesick: We aimed to capture various moods and experiences, from the sultry vibes of a late-night drive to the high energy of a summer festival. Each track on Moment tells a story and takes the listener on a journey.
Q: How did you come up with your stage names, and do they hold any special significance?
Arcydan: My stage name, Arcydan, is a combination of the word Architect and my first name Daniel. I chose the word Architect because much like an architect who designs intricate structures, I’m a visionary, who loves to bring imaginative ideas to life. It is a tribute to the artistic journey I've been on.
Deesick: Deesick is derived from my name, Daniel, and I simply combined it with the cool term “sick”. I mean “sick” in a good way—unique and unforgettable.
Q: Who are some of your biggest musical influences, and how have they shaped your sound?
Arcydan: Saint Jhn and Burna Boy have been huge influences. Their ability to blend genres and create music that's both deep and danceable has greatly inspired my work.
Deesick: Styl-Plus, Aṣa, and Chris Brown have been major influences. Their music taught me the importance of melody, lyrical depth, and emotional delivery.
Q: What challenges have you faced as upcoming artists, and how have you overcome them?
Arcydan: One of the biggest challenges has been breaking through the noise in the music industry. We've overcome this by staying true to our unique sound and continually evolving.
Deesick: For me, it's been about finding my identity as an artist. Through continuous experimentation and development, I've found a sound that resonates with me and my audience.
Q: Can you walk us through your creative process when writing and producing a new track?
Arcydan: Our creative process usually starts with a concept or emotion we want to convey. We then build the melodies and rhythms around that idea, constantly refining it until it feels right.
Deesick: It's a collaborative effort. We bounce ideas off each other, experiment with different sounds, and ensure that every element of the track contributes to the overall vibe we want to create.
Q: How do you balance staying true to your artistic vision while also appealing to a broader audience?
Arcydan: It's about finding that sweet spot where our unique sound intersects with what listeners enjoy. We stay authentic but also pay attention to trends and listener feedback.
Deesick: We make music that we love and believe in, trusting that it will find its audience. Authenticity is key, and when you're true to yourself, it resonates with others.
Q: What themes or messages do you aim to convey through your music?
Arcydan: Our music often explores mostly themes of love, and emotional connection. We want our listeners to feel seen and understood.
Deesick: We aim to evoke emotions and create connections. We want our music to be a soundtrack to people's love lives.
Q: Have there been any pivotal moments in your careers that significantly influenced your path as artists?
Arcydan: Releasing my debut EP, “The Artist Freestyle”, was a turning point. It marked the beginning of my journey and helped me find my voice.
Deesick: Discovering my sound with the “FAR” project was crucial. It solidified my identity as an artist and gave me the confidence to pursue my musical vision.
Q: How do you see your music evolving in the next few years? Are there any new genres or styles you want to explore?
Arcydan: We're always looking to evolve. I see us incorporating more diverse influences and experimenting with new genres while staying true to our core sound.
Deesick: I'm excited to explore more global sounds and collaborate with artists from different backgrounds. The goal is to keep pushing boundaries and creating music that resonates worldwide.
Q: What advice would you give to other aspiring musicians trying to break into the industry?
Arcydan: Stay true to your unique sound and never stop refining your craft. It's a tough industry, but perseverance and authenticity will set you apart.
Deesick: Keep experimenting and learning. Don't be afraid to take risks and put yourself out there. Success comes from hard work, passion, and staying true to your vision.
Conclusion
With their infectious energy and undeniable talent, Arcydan and Deesick are poised to make a significant impact on the global music stage. Their innovative sound not only challenges the status quo but also offers a refreshing alternative to the current musical landscape. So, mark your calendars and prepare to immerse yourself in “Moment”, as Arcydan and Deesick invite you to join them on a musical journey that promises to be unlike any other. This EP is not just a collection of songs. It is an experience that will resonate with you long after the final note fades.
Afrobeats, no doubt has been sweeping global populations off their feet with several artists like Wizkid, Burna Boy, Ayra Starr, Tems, and Davido constantly putting the genre on the world map with their irresistible jams. They have consistently surfaced on the UK and US Billboard charts with their singles since 2021, proving that Afrobeats is a force to be reckoned with.
K-pop, (a short form for Korean Pop), is another wave known as the “Hallyu wave” crashing the shores. In this particular genre, the artists are referred to as “idols”. They are young individuals who are highly fashionable, extremely good looking, rigorously trained in singing and dancing in order to portray them as having a perfect and flawless demeanor. Unlike the Afrobeat genre where the artists have the freedom of raw expression through actions and lyrics, these idols are compelled to be role models for their fans and portray a squeaky-clean persona in the society.
With several K-pop groups like BTS, Blackpink, TXT, Stray Kids, ranking high effortlessly on the American and European charts, attending MET Galas and appearing on interviews like The Late Night Show with Jimmy Fallon, it shows that K-pop is clearly a raging force backed by powerhouses like HYBE (BTS, TXT) YG (Blackpink) and other companies, and it boasts of an immensely huge fan base and global presence.
Although there was a viral hit of a Korean song, ‘Gangnam Style’ by Psy in 2012, it fizzled out quickly because nobody actually cared about the origin. The peculiar beat only appealed to the African audience briefly and went into extinction. These two worlds seemed like parallel lines that was destined to never meet until surprising fusions, genre-bending collaborations and mentions started popping out of nowhere, leaving the fans of both worlds scratching their heads in delight. BTS, the biggest K-pop boy band on the planet, have constantly shown their interest in Afrobeats. Jhope and Jungkook are always keeping up with the latest African dance craze on Tiktok.
According to modern marketing statistics, there was 267% rise in K-pop streaming from fans in Nigeria, Ghana (236%), and Kenya (140%) in 2022. Ever since then, there has been a steady increase in K-pop and Afrobeats popularity. Afrobeats splashed across the borders, got its wave into the Asian market and infused the Koreans with the energetic bop as we see several celebrities like Rain, a South Korean actor bopping to Burna boy’s ‘Ye’ on his Instagram account.
TXT’s Taehyun once recommended Wizkid’s ‘Essence’ in his 2022 live and mentioned him as his ideal collaboration in an interview. ‘Bolo’ (produced by Nigerian-British soundsmith, London) and Shy (eh o)’ by Penomeco also contained the Nigerian languages like “Nawa o, mo ti je gbese” and “Omalicha” with some sprinkle of Pidgin English.
Just last weekend, Ice Prince, in collaboration with Afroentertainmentsk made history by holding a concert at BDBD club in Itaewon and album listening for his new album ‘Fire and Ice’ at Awesome Club, Dongducheon, Busan, South Korea. Many Koreans were seen jamming and rocking to his songs like they were born to them.
Panshak Henry Zamani, better known as Ice Prince Zamani or Ice Prince, is a Nigerian rapper, singer and songwriter that was born on 30th of October, 1984. The forty years old artist rose to stardom with his song ‘Oleku’ that featured Brymo in 2012, after he released ‘Everybody Loves Ice Prince’ as his debut album in 2011. His notable works over the years includes, ‘Aboki’ and ‘I swear’. Over the years, he had played his part on putting Afrobeat on the map and finally crossed borders to promote his new album in South Korea.
Starting from the enthusiastic welcome he received at the airport, insane energy from the club where everyone blasted to his songs, and bonus tour of the country that he got to experience, the testament of unify power of music has once again been defined. It pushed back cultural differences, borders, races and styles. It transcend beyond language and we are glad that most artists are proving this with several awesome collaborations hitting our playlists and screen every now and then.
Constant collaborations and cross-genre pollinations will indeed raise awareness for the fans of both worlds and solidify “Afrobeats” print in the massive Asian market. The musical synergy is constantly breaking the rules and rewriting history, we cannot wait to see the global eruption party of Afrobeats as soon as possible.
Tems showed up and showed out at the Eventim Apollo last night, kicking off her "Born in the Wild" world tour. This opening night was more than just a concert—it was a celebration of Tems’ 29th birthday, making the evening even more memorable for the Afrobeats Star and her fans.
Tems gave her fans the performance of a lifetime, beginning with tracks from her latest album, Born in the Wild. She started strong with "Gangsta," "Wickedest," and "Turn Me Up," immediately captivating the audience. Her seamless transition into fan favourites like "Crazy Tings" and "Replay" made the crowd go wilder.
The setlist was a dynamic mix, reflecting her growth as an artist, and featuring songs from her latest album; Born in the Wild, and classic songs from her endless catalogue.
A particularly touching moment was when the audience serenaded Tems with a birthday song. This heartfelt gesture was followed by a spectacular finale with a few more tracks, ensuring that the night was one to remember.
The Eventim Apollo, known for its rich history and vibrant atmosphere, provided the perfect backdrop for Tems' performance. This concert not only marked the start of her six-month tour, which will conclude in Australia in November, but also set a high standard for the shows to come.
As she continues her tour, fans worldwide can look forward to experiencing the magic she brought to London.
For those who missed it, Tems will continue her tour across Europe and North America before heading to Australia. Each show promises a unique experience, celebrating her new album and the journey that has brought her to this pivotal moment in her career.
Upcoming Tour Dates:
June 15, 2024 – L'Olympia, Paris, France
June 29, 2024 – Glastonbury Festival, UK
July 4, 2024 – Sentrum Scene, Oslo, Norway
Fans can find more information and purchase tickets on her official website; www.leadingvibe.com/#tour
The release of Kaytranada's Timeless, a highly anticipated event since the Canadian artist hinted at its arrival, marks a significant point in his musical journey. Following the success of his 2019 GRAMMY award-winning album Bubba, it was clear that he was pushing his creative boundaries and evolving his unique musical identity.
Since the release of his last album, we've been eagerly awaiting Kaytranada's next musical offering. We've seen him travel and play shows worldwide and drop his 2023 Kaytraminé joint album. However, the anticipation for his new solo work has only grown, and fans alike have been waiting for the time to come.
There is a particular enchantment to a Kaytranada Remix. His name alone carries the promise of musical magic. Unafraid to venture across genres, his touch can transform any ordinary song into a dancefloor anthem. A live Kaytranada show is a vivid testament to this transformative power, leaving the audience in awe of his musical prowess.
The release of Lover/Friend with Rochelle Jordan and Stuntin with Channel Tres was the beginning of this new era of Kaytranda, and from that moment, It was known that there was a new era on the rise.
Speaking to the London crowd about Timeless, I felt a heavy sense of gratitude and appreciation for all the support that he had received over the years. People will know that anybody present at the 2022 sold-out show at Brixton Academy was a night to remember. Still, all the time that has passed since then has been ingrained in my mind as one of the best shows I've attended.
Being a part of the 'Timeless' experience and sharing it with the diverse crowd at the Outernet was a truly immersive and unifying experience, reinforcing the sense of community that Kaytranada's music fosters.
The album itself is a standout moment. Kaytranada's knack for selecting top-tier artists for his features and remixes is evident in the lineup for this album. Reuniting with past collaborators such as Thundercat, Tinashe SiR, and Durand Berner, he also introduces new voices like Rayven Lene, Channels Tres, Dawn Richard, Childish Gambino, and PinkPantheress, to name a few.
With a distinct and unparalleled musical identity, a Kaytranada album is always a solid offering. Timeless is no exception. From the opening track, Pressure, to its 21-track, hour and 3-minute duration, the album delivers on what will undoubtedly be a Kaytranada summer and more.
The synergy between the album and the flow of which it is run allows space for all his collaborators to still work within the sounds their tracks exist on whilst also displaying their all musical talent to shine through without getting lost in the flow of things.
It takes you across a variety of sounds that touch on the variety of musical styles that he has weaved throughout his career, from the frunk and groove. It has a familial feel of what you would expect from Kaytranada while delivering something new and fresh.
To be "Born in the Wild" signifies a life forged in untamed, challenging environments, devoid of conventional guidance or protection. It speaks to a raw, unfiltered upbringing, characterized by self-reliance and an innate connection to one's surroundings. For Temilade Openiyi, the Grammy-winning Nigerian Afrobeats star popularly known as Tems, this phrase encapsulates her journey of self-discovery and empowerment, as depicted in her new album's opener, "Born in the Wild."
In this review, we highlight 10 of our favorite tracks from Tems' exceptional 18-track debut album in no particular order.
1. Born in the Wild
The album opener, "Born in the Wild," tells a story of Tems' self-discovery. With lyrics like, "Born in the wild, born in the wild / I grew up in the wilderness / Didn't know much about openness," Tems reflects on her upbringing and her journey to finding her feet and empowerment. This first track gives a prelude to the rest of the album, showcasing Tems with no limitations, basking in the excellence that she is.
2. Special Baby (Interlude)
The second track, an interlude voiced by Tem’s mum, adds a layer of vulnerability to the album. Tems' mum talks to her doubtful daughter, reassuring her that she is deserving of all the success that has come her way. Her mom mentions people questioning her talent and success: "They can't understand it," she says, reassuring Tems that despite all the external noise, her talent, impact, and potential are undeniable as the results show. This interlude serves as a reminder of the importance of the support of loved ones and keeping the external noise at bay.
3. Burning
"Burning," the third track on the album, takes a sharp turn from the previous track as we hear Tems' soothing voice exploring some of the downsides of fame and success she struggles with. Tems grapples with the emotional toll of being in the spotlight, questioning if the dream is worth the constant pressure and scrutiny: "Will I stay or will I leave?" She goes ahead to warn about the industry's games, and echoes "burning" through the song, signifying that everyone in this industry seems to be conscious of the fact the industry is messed up: "Guess we're all burning."
4. Wickedest
"Wickedest," the fourth track off the album, comes in hard! This is an easy Afrobeats anthem for the gal dem, sampling Magic System's "1er Gaou." Tems exudes confidence on this track, shedding the vulnerability from previous tracks. She stands on business, letting us know she is aware of who she is—the best to ever do it—and she gives the gals an anthem while at it.
5. Love Me Jeje
The fifth track, "Love Me Jeje," is the first single off her album that we already know and love. It features an interpolation of Seyi Sodimu’s "Love Me Jeje," a classic Nigerian song released in 1999. This sweet and soulful song turns us up like NEPA.
6. Get It Right (feat. Mr. Money)
Tems features Asake, Mr. Money on the sixth track, "Get It Right." The duet came with vibes on vibes on this club banger. We can say they got it right with this feature—pun intended.
7. Unfortunate
Track nine, "Unfortunate," is a triumphant melody about leaving behind a manipulative relationship. Tems confronts her partner with a history of "dirty plans," with no girl ever making it back, and failed reconciliations. Despite the emotional depth of the situation, Tems finds strength and declares her partner's misfortune as her own good luck, as it makes it easier for her to leave the relationship and get the love she truly deserves: "Maybe it's fortunate you're unfortunate."
8. Free Fall (feat. J. Cole)
J.Cole seems to be back in form on this collab, as he drops bars on this ode about falling hopelessly in love only to end up heartbroken, Cole delivers one of his best verses with outstanding wordplay “Toxic, who would’ve thought what’s comin’ was a plot twist/ Soon as you let mе in, you start huntin’ for the locksmith/ Now the key I oncе had to your heart does not fit/ I got three choices, batter your door or lock-pick/ Or walk away confused at your logic,” he raps. Tems Angelic vocals on this classic is what you would expect - tender and soulful.
9. T unit
A playful nod to 50 Cent’s “Candy Shop,” this track is easily top 5 for us (and it is not no. 5). We don’t see Tems rapping so often, and damn, is she spitting. The Rebel Gang Leader unleashes her inner-rapper with this high-energy anthem brimming with self-confidence and celebrating her hard-earned success. Watch your back, Odomodu Blvck—you have some serious competition.
10. Hold On
Tems ends her album with this masterpiece, reminding us of who she is again, Temilade Openiyi is unmatched when it comes to vocals - one pea in one pod. This song emphasizes growth, self-acceptance, and inner strength. Tems encourages listeners facing various challenges to find their voice, embrace self-belief, and hold on because the hope and fulfillment they seek is within them, waiting to be discovered.
Born in the Wild is definitely one for the books and we are not having enough of this album anytime soon, but don’t just take our word for it, Stream it now!
In an exclusive interview with Deeds Magazine, 10TEN, the innovative A&R executive at Chocolate City, opens up about his upcoming album, 1823. From his early days as an artist and songwriter to his current role at Chocolate City, 10TEN shares his insights, challenges, and the inspiration behind his upcoming album.
Deeds: How would you describe the evolution of Chocolate City's sound since you began shaping its A&R strategy in 2019?
10TEN: Before I joined, Chocolate City had a reputation for producing music with substance. MI and Toda, who were hands-on and passionate, set a solid foundation that I studied well. Being hands-on myself, it was easy to continue on that path.
Deeds: How has your personal journey influenced your approach to shaping Chocolate City's A&R strategy since 2019?
10TEN: As an artist, I used to create music all night and think about who could probably do it better than me before sending it to them. I've always loved helping artists. I wrote so much that I even wrote for DMW at one point—Ichaba ft. Mayorkun, Mr. 2Kay. I also wrote for churches. My friends didn't get it, and I didn't either until I discovered A&R. By the time I joined Chocolate City, I was well-versed in the craft.
Deeds: What inspired the direction of your upcoming album, and how does it reflect your growth as an artist?
10TEN: My project, 1823, tells a story. It's a journal of my time in the industry, performed by the artists I met during 2018-2019. It's both a message and a CV for everyone who knew, knows, or will know me. It's a music and music business template. Working closely with all these artists gave me insights I never thought I needed as a creative. What better way to learn than by watching people?
Deeds: Can you discuss the significance of your collaboration with Qing Madi and what you hope listeners take away from the song?
10TEN: Madi is one of the artists I tried to sign. I discovered her back in 2021. Our first session together produced "See Finish," which catapulted her into stardom. I'm a part of her story, and she’s part of mine. 1823 is a journal expressed by the people I met from 2018-2023, so it’s only fitting that she helps convey this message of hope, which I'm very passionate about. Without hope, we’re lost.
Deeds: What challenges did you encounter while working on your upcoming album, and how did you overcome them?
10TEN: The main challenge was constantly having to explain the goal because the concept is quite different. It took me a while to understand that this is usual with innovative ideas. I overcame this by always thinking, "It’s a them problem, not mine." 😂
Deeds: How do you plan to engage with your fans during the release of your upcoming album?
10TEN: As much as I hate being in front of the cameras, I've had to come out of my shell for this period—photoshoots, video shoots, and social media content. I'll be in your faces! I’m also active on Twitter, so yeah!
Deeds: What do you hope listeners feel or experience when they listen to your upcoming album.
10TEN: I hope they connect on a personal level because I’m getting the artists to be as vulnerable as it gets
Anybody who experienced City Splash 2024 will tell you about one thing: the mud. The return of the Caribbean Reggae Dancehall and Afrobeats festival took place at Brockwell Park. The day was in full swing with everything from masses of people, good music, good food, sound issues, endless walking, unpredictable weather and, of course, mud.
And despite the countless shoes, white trainers and outfits that may have suffered at the hands of the highly unpredictable weather conditions, the festival as a whole once again brought together the audience of 30,000 people as they joined in the vibes of everything the festival had to over.
From the myriad of food vendors, each with lines that seemed to stretch for days, offering a tantalizing array of cuisines under the food tent, to the bustling businesses promoting themselves, and the lively Rum Shack, the festival was a true celebration of Caribbean culture. The energy and vibe of the festival were palpable, reflecting the rich diversity of the Caribbean disaopra which came out in full efffect.
Of ocurse the various stages across the festival offered music from across the world of Dancehall, Reggae, Afrobeats and even Amapiano which catered to the crowds which packed Brockwell Park.
Stepping back into this scene was a reminder of the environment of the festival season being so fully immersed in everything, not to mention getting one's steps in moving from stage to stage.
The lineup included music from the legendary Beenie Man, who was once again welcomed and opened by the crowds. Unfortunately, a culprit of poor sound issues plagued his set, but he could still deliver as he usually does. Another musical moment was up-and-coming Jamaican songstress Mehka, who did her thing on the Bossy London Stage. Of course, the Dancehall queen Shenseea dazzled the crowd the best way she knew how. Fresh off the release of her newest album, Never Gets Late Here, she treated her fans to her hits, old and new, even inviting two eager fans from the crowd to join her on stage.
Capturing a glimpse of the Amapiano vibes, the Dankie Sounds take the Pull Up Stage very much, bringing the piano vibes to the festival stage with dancers and hosts moving in high energy. Closing out the festival was headliner Capleton, the iconic person who shut down the festival. Playing to the sold-out crowd as the sun set on Brockwell Park made everything from the rain to the mud well worth it.
City Splash 2024 was not just a festival, but a grand celebration of Caribbean culture, surpassing its previous offerings in size and quality. As we eagerly await the next instalment, we'll be basking in the afterglow of vibrant vibes and unforgettable experiences
How collaborations between French and English speaking artists impact the global influence of African Music.
“No love, no love. Outside is a cold word, cold word. But me I gotta stay strong… Greatness was a matter of time.”
These lyrics of the Nigerian singer Ayra Starr resonate powerfully over the sensual beat of the song No love released by the French Congolese rapper Ninho in his last album “Ni”. This is a collaboration we did not know we needed; it demonstrates how iconic it could be when an English and a French speaking African artists team up to deliver good music and make it more impactful.
Ninho - No love feat. Ayra Starr (Clip officiel)
Both musicians are definitely familiar with this kind of collaboration. Ayra Starr featured on “Hypé” by the French Malian phenomenon Aya Nakamura aka the Queen of France. It could seem unusual to hear the Nigerian singer put her voice over Kompa and Zouk, two predominantly French-speaking musical genres. But knowing that Ayra Starr was born and grew up in the Republic of Benin, it then makes complete sense that she understands and is influenced by the French culture.
Aya Nakamura - Hypé feat. Ayra Starr (Clip Officiel)
Ninho on his side has invited another rising Nigerian star, Omah Lay on the song “Bad” also released on his album “Ni”. Omah’s voice and Afrobeats background adds a flavourish purity to Ninho’s flow. This is all sublimated by a music video shot in Ghana. We love this real pan africanist move. That is what makes this collaboration strong and we want more.
Ninho - Bad feat. Omah Lay (Clip Officiel)
In the past two years, there have been numerous notable musical collaborations between French and English-speaking African artists, reflecting a growing trend in the African music scene. They are expanding their reach across different linguistic and cultural audiences.
The increase in these collaborations can be attributed to several factors. Firstly, the advent of digital platforms like Spotify has made it easier for artists to reach global audiences and discover each other’s work. This has facilitated cross-border partnerships and the blending of diverse musical styles. Secondly, there is a growing appetite for African music worldwide, driven by the success of genres such as Afrobeats and Amapiano. This interest incentivizes artists to collaborate and tap into each other’s fan base, thereby increasing their international appeal.
By merging different African sounds with global music trends, not only are these artists preserving and promoting their cultural heritage, they are also making it more accessible to international audiences. This has led to a wider recognition of African music on global charts and in mainstream media, enhancing its influence and visibility worldwide.
However, it is interesting to observe that most of these recent musical collaborations have featured Nigerian artists. This could be explained by the attractivity of the Afrobeats genre that gives an aura to these artists who are used to conquering the world and not afraid to take risks. On the other side, there is a real interest and admiration from these Nigerian artists for their French-speaking counterparts. Some of them like Adekunle Gold have expressed how they are willing to collaborate with French (with African origin) artists whose work they have been following and respect.
Ultimately, these collaborations between the French and English-speaking African artists mark a significant evolution in the musical scene and they do more than just create new music; they foster cultural exchange, promote diversity, and elevate African music to new heights on the world stage. As artists continue to break linguistic barriers and blend their unique styles, the future looks promising for the continued global influence and recognition of African music. Now, collaborations involving artists who are directly from the continent need to be more encouraged. We don’t know about you, but we can already picture a featuring between the singer Asake and the rapper Didi B who are pure products respectively from Nigeria and Ivory Coast and, whose impact on the international scene is undeniable.
Two of Nigeria’s biggest music superstars — Ayo Balogun, popularly called Wizkid or Big Wiz by his fans, and David Adeleke, also known as Davido — have been at loggerheads for over a decade now in what is now termed as a “supremacy battle.”
2024 re-ignited the beef that music critics thought was a thing of the past. In April 2024, Wizkid fired a salvo at Davido on his X page using a caricature video of Davido’s scandal to react to his fans’ call to release his new music.
Reacting to a call from fans for him to drop his much-anticipated album, Wizkid wrote:
“Beg me like this. Send video”
The scandalous video of Davido crying and pleading in an alleged move to cover up his cheating romps ignited a new wave of beef as fans and celebrities openly made known on whose side they are. Davido, who was obviously angered by Wizkid’s mockery of him, went on a rampage accusing Wizkid of trying to use him to revive his “dead career”.
Davido, in his clap back, tweeted:
“E NOT DELUSIONAL YOU’RE A SICK MAN”
In his comeback, Wizkid tweeted again:
The exchange of words between the two singers generated a lot of buzz on social media, especially from their fans known as Wizkid FCs’ and 30BG. Wizkid FC are staunch lovers of Wizkid while Davido fans are called 30BGs’.
These two music fans regularly throw banters at each other from music charts, album releases, styles of music, and lyrics to social media wars. The two fan bases are similar to a cult following that will stop at nothing to impose their ideologies on others.
A Close Shot At Music Collabo
While fans anticipate music collaboration between the duos, there are indications that these two talented singers might be deliberately delaying this to keep the hype between them going.
Davido, in an interview with TV host, Ebuka said that his efforts of trying to work out something with Wizkid in terms of album and tour have all turned futile. He added that he had reached out to Wizkid – who’s also known as “Starboy” – several times, but all his efforts did not see the light of the day. Ebuka proceeded to ask Davido how he would describe Wizkid as a person, he simply said “No stress”.
A Reconciliatory Move
In 2015, fans and music lovers were excited to see Wizkid and Davido share the same stage at the “At The Club” event hosted by Remmy Martin in Lagos.
The event held at the Ocean View venue in Victoria Island was attended by the biggest name in the industry.
As netizens take joy in the fact that the storm is now over between Wizkid and Davido, it did not take long before the relative peace was truncated in 2017 with a Snapchat shot fired by Davido, who seemingly aimed at Wizkid’s musical style.
Calling A Truce
In 2017, Wizkid’s concert at the Eko Convention Center in Lagos gave joy to a lot of people including the fans of warring sides, 30BGS and Wizkid FCs. The two artists decided to halt their beef by performing on stage together.
After this reconciliatory stage performance, it was largely peaceful until 2020-2023 when their fans decided to bring back the heat by attacking each other.
The renewed beef between Wizkid and Davido, which was mostly a firing of words and allegations at each other, generated buzz on social media. Things took a turn when Wizkid accused musician Peruzzi, whose real name is Tobechukwu Victor Okoh, of being a “pant washer songwriter” due to his writing most of Davido’s songs for him. In his reaction to Wizkid, Perruzi asked Wizkid to swear if he did not look for him to write songs for him.
In a now-deleted post, Davido on Monday night, 29 April 2024 took the beef to a tilting point as he accused Wizkid of domestic violence against his baby mama Jada P. The DMW’s boss also declared that Wizkid’s career is over, urging him to drop his upcoming work so everyone can rest.
Even though the events of the past years has shown no sign of an actual collaboration between Davido and Wizkid, some fans on both sides are still hopeful that in the not-too-distant future, Nigeria’s biggest music rivalry will come to an end when the duo hits the studio. The real question on the lips of fans is will there ever be a collabo between Wizkid and Davido? The answer still remains a mystery as of now.
For many, turning 21 symbolises an important milestone in their lives, a transformation from a young adolescent to embracing the trials and tribulations of what adulthood has to offer.
Within a few short years, Ayra Starr has risen quickly to the heights of Afrobeat royalty, subsequently becoming a household name in and outside of Africa. Her new album “The Year I Turned 21”, which dropped May 31st, showcases her evolution and growth from the newly emerging talent we met on her debut EP “19 and Dangerous.” The 15-track album embodies her coming-of-age experiences as she embarks on a new chapter.
Oyinkansola Sarah Aderibigbe, more commonly known by her stage name Ayra Starr was born in Benin, Nigeria in June 2002. She crashed onto the music scene after releasing her song “Away” in 2021, following her signing with African record label Mavin Records owned by the label’s executive Don Jazzy. The now 21, soon-to-be 22-year-old Grammy nominee went on to release her popularised EP “19 & Dangerous” later that year. But it was her songs “Bloody Samaritan” and “Rush” that earned her international recognition and numerous awards like the Headies Viewer’s Choice in 2022 which cemented her spot among Africa’s new generational talents.
Her unique genre, a mixture of pop, R&B, and Afrobeats to name a few, has not only allowed her to successfully build a fanbase both nationally and internationally, but has also expanded African music to the world. This makes her one of the biggest stars to emerge from Africa and one of the most recognisable stars on the planet.
It is therefore no surprise that “The Year I Turned 21”, released by Marvin Records on Friday, reflects a mixture of different sounds and musical genres from Afropop to R&B and soulful ballads. The album features a number of huge artists within the international music industry. This includes American R&B singer Giveon, Brazillian singer/songwriter Anitta, American singer and actress Coco Jones, African singer/songwriter Asake, African artist Seyi Vibez, singer Milar, Jamaican record producer Rvssian, and, Puerto Rican singer Rauw Alejandro.
The album’s opening song “Birds Sing of Money” immediately captures the listener as she sings “I don’t watch my tone/ “cause I like how I sound, bitch.” The track illustrates the depth and controlled nature of Starr’s impeccable vocal talents. The lyrics read as a homage to her background, showing her desire to remember her roots whilst tackling the new heights of her fame. Across the tracks, her ability to weave together different musical genres with traditional Afrobeats sounds is clear. This was most prominent on “Goodbye (Warm Up)” alongside Afropop giant Asake. The jazz-infused song centred on letting go of past lovers and perhaps a past life in search of a new or better one, a perfect fit for the message of this album.
The pinnacle of the album “21” takes the listener on an emotional ride. An autobiography in a way, Starr recounts the experiences she has faced in her life up to turning 21. She comes to a self-realisation throughout the song, that her success, the rewards, and the emotional baggage are all on her shoulders. This is the pivotal moment within the album as it highlights her transition into an adult. The continued repetition of the lyrics “Well shit I’m just 21” throughout acts as a reminder to her and the listener of how much she has achieved within a short period compared to her predecessors and how much she has left to come.
The fusion of vocals from Starr and Milar on “1942” produced one of the best vocals on the album. The message here is strong; “Their fear of losing everything they have worked so hard for.” Their shared pain is clear, but their determination to continue to succeed ends the song on a hopeful note.
The closing track, “The Kids Are Alright” provides a loving tribute to her late father. The song begins with a monologue from her mother who encourages Starr to go and enjoy her success and be happy. This dialogue accompanied by an orchestra of strings is sure to tug on listeners’ hearts. It ends with recorded voice notes from the rest of her family providing life updates since he passed, a solemn but beautiful note to round off a rollercoaster of an album.
To conclude, this album is a letter showcasing the triumphs and hurdles she has faced at such a young age. From an outsider’s perspective, many of us fail to understand the work and growth she has had to put in to reach the level she is at now. While the underlying reason for creating this album is to generate sales, as with all artists overall, it is a tale of recurring themes; from hope to heartbreak, love and suffering, avoidance and acceptance. With over 30 million monthly listeners on Spotify, it is quite clear that we will see more of this amazing artist in the future.
The South African breakout star received four nominations for the 2024 Black Entertainment Television (BET) Awards, the most nominations of any African artist this year.
The BET Awards, first introduced in 2001, is an annual show that celebrates the work of Black people across multiple platforms including music, film, and sports and has become a staple within the black community worldwide.
This year’s edition is set to take place on Sunday 30th June 2024 in Los Angeles with plenty of African interest on offer with the theme being “Standing on Culture.”
Here are some of the African favourites who have a shot at winning.
Tyla: Four nominations
The newly crowned Grammy-award winner topped the list of African nominations, which was revealed on Thursday 16th May. She is up for; best Female R&B/Pop Artist, best International Act, best New Artist and Viewer’s Choice Award.
Tyla has had one of the most successful breakout years, with her infamous song “Water” topping the charts across the world, already earning her accolades. Her debut album named “Tyla” released in March this year, saw her collaborate with some of the biggest and most recognisable artists in the world, including Travis Scott, Gunna, and Tems.
It is expected for her to win big.
Ayra Starr: Three nominations
The Nigerian-born star has been nominated for best New Artist, best International Act, and the BET HER award, a special award for songs that motivate and empower women.
The young talent has gone from strength to strength within the last year, from releasing songs such as “Hype” with French singer Aya Nakamura to performing in sold-out tours worldwide. Her latest album “The Year I Turned 21” is expected to drop on Friday 31st May. She explains the album as a mixture of Afrobeats, R&B, and pop and will act as a documentary, detailing her rise to becoming global icon.
Burna Boy: Two nominations
The four-time Nigerian BET winner has once again been recognised after being nominated twice this year; Best Male Hip-Hop Artist and Best Male R&B/Pop Artist.
Burna Boy’s newest album “I Told Them” was an instant hit when released last year and these nominations marked a shift in his career as this is the first time he has been nominated in these categories.
He would want to try and redeem himself this year following a disastrous result last year with no wins despite being up for seven awards.
Tems: Two nominations
The multi-award-winning 28-year-old from Nigeria is also no stranger to the BETs, racking up three wins, including one for her highly recognised song “Essence” with Wizkid.
She is up this year for Dr. Bobby Jones Best Gospel/Inspirational Artist for her song “Me & U” released late last year and Video Director of the Year. She will be hoping to continue her award season, following an earlier success, winning a Billboard Women in Music Award in March this year.
Others to watch out for
Davido and Lojay are both up for the Viewer’s Choice Award for their song “Sensational” with Chris Brown. Asake and Focalistic join Ayra Starr and Tyla as they battle it out for Best International Act. Makhadzi, Seyi Vibez, and Tyler ICU brought up the rear as they were all nominated for Viewer’s Choice: Best New International Act.
Here is a full list of the complete nominees for the BET Awards 2024
Over the penultimate weekend of May Project 6 festival took place in Brockwell park, South London. Headlining the event were Nines, Pusha T, and AJ Tracey with a host of other rappers, bands, and DJs gracing the festival’s 6 other stages. AJ Tracey delivered a vibey performance of some of his top hits while Pusha T performed a set of songs from across his array of albums and mixtapes. He followed this with a medley of some of his best guest performances, with the crowd rapping that iconic ‘Mercy’ verse word for word. Nines then closed out the day with a fiery performance to an electrified crowd.
Alongside the headline acts, other artists on the main stage included Freddie Gibbs, who has been enjoying a stellar run of mixtapes and features in recent years. He was joined by his frequent collaborator, DJ and producer Madlib, who delivered the cool, melodic instrumentals that were the backdrop of the set. Other iconic British acts such as Casisdead, Unknown T, Katy B, and Ms. Dynamite also graced the stage.
On the Fabriclive stage, electronic acts such as Shy FX, Eliza Rose and Todd Edwards performed throughout the day. SBTRKT performed tracks from his landmark eponymous album, while South London-based, multi-instrumental collective Steam Down delivered a brassy, percussive set.
The African diaspora was also represented; South African DJ Vigro Deep took over the Places + Faces stage with an amapiano set. Juls followed later, playing a collection of classic and contemporary afrobeats, amapiano hits, and a selection of his own music.
Project 6 is part of the Brockwell Live, a program of festivals and live events running through the summer in Brockwell Park. The festival is the newest addition to the series but by bringing in the hottest talent in UK and international hip-hop and electronic music, it looks to become a mainstay of the festival lineup.
Currently, she has been the talk of the town following her milestone of becoming the first East African artist to ever score 10 Million monthly Spotify listeners, a stark gap to her contemporaries and predecessors.
In her wildest imagination, she recalls she would never imagine that the record she cut for a sample pack and put on the internet for sale for a shoestring price would mature into a viral cut being echoed across festivals, social media and more. Little did she know that a producer from Brazil named ZERB would pick up the sample and flip it into a sticky Electronic cut that could live on the dancefloors and hearts of billions if not millions.
“I think I just wanted to be famous. Just like any other artist, you think you’re going to be famous”
She intimates to Deeds Magazine. “You do 100 songs and none of those songs are getting anywhere, and you think this is crazy, but you still keep doing it” she recalls recording countless records before actually registering a worldwide hit now.
Currently, she has been to Ultra Music Festival South Africa, collaborated with her idols, and is churning out more singles with her now label boss Fully Focus in her now signature native language - Kikuyu - from Kenya on the backdrop of EDM instrumentals and this is becoming her musical identity, with fans singing lyrics they do not even understand but can feel.
On the heels of “Mwaki” which is an electronic single that sees her croon about pursuing a love interest against the will of her father - a common tale in African households growing up under your parents’ roof - the now highly-sought for music artist, singer, songwriter and muse is on the way to global stardom and her dreams are kaleidoscopic and bright as ever.
She talks to Deeds Magazine about the idealism of being a one hit wonder, navigating a new-found success, mental health, TikTok and social media’s impact in artist success’s, ZERB, Fully Focus, record labels and more.
Deeds: Congratulations on your recent milestones. Is there anything that has surprised you so far?
Thank you so much. I think the blessings and the love have been amazing. It’s a result of everything we’ve been through because it’s been a journey to get here. And to see the things that are coming as a result of everything that’s happened (Mwaki), I expected it to come years later because of growth, but things happen so fast sometimes. But how smooth, fast and good it’s happened has surprised me.
Deeds: What do you attribute the success to?
First to hard work and consistency because I’ve been doing this for a long time. I’ve been trying to perfect myself with every song, small or big. Also God, it’s all God’s timing because when He decides “this is the time”, then it is.
Deeds: Talk about your husband Mr. Nzau and his role in your life, as well as what you love about him?
My husband has been one of the people that has helped me with music, and supported me. He has guided me and that’s what I love about him. He’s very honest. He can tell me when something is good, but not the best, or you can do better, to a point he knows I can kill a song in as much as I’m not there. He’s been a huge part of my growth and my journey and love that we have been through all this together. There is no Sofiya Nzau without Nzau honestly.
Deeds: Universal Music is taking music down from video sharing app TikTok, what are your thoughts on this especially denoting that the platform has been key to your song taking off?
I’m not part of Universal Music, but music is a business. And these two companies are a business so there’s a lot of talking and negotiation and I’m not sure about anything right now but I’m sure these are just two people who can sit down and talk. But my music is on TikTok, so people can access it. I really have no comment on this.
Deeds: With that, would you ever sign to a major record label? Speak about why you would or wouldn’t. And have you got approaches yet?
I am already part of a label. This is the Passport Music Group. You only know what you want and what you’re expecting and I’m glad I’m getting what I expected. They have supported me, with “Mwaki”, they negotiated a good deal for me, and I only have good things to say about them. I am happy they are who I decided to be with, and I thank God for that.
Deeds: Creatives from TIESTO, to DIPLO from Major Lazer have been remixing your record. How has it been shipping the Kenyan culture to them, and how is their reception towards it? So anytime I work with someone, whether Diplo or TIESTO, they are so excited about the language. I think it’s the words. It’s like anytime I listen to a South African song, I get excited not because I understand what they are saying, but it’s how it sounds and the vibe they give. I hope this encourages us to use what we have culturally; our language, instruments, visuals, it doesn’t matter what time it was made, just use our own because it’s also music and culture. I hope that our music is helping people embrace our culture more because others are.
Deeds: You mentioned you wanted to be “Beyoncé” and that EDM is not your only forte. Where do you stand now in terms of what you want to do musically?
I don’t do a lot of EDM. I do a lot of Afrobeat, Afro House, Afro Tech, and my music is very diverse. I do Drill, I’ve done Hip Hop, so I’m not a boxed artist. This came as a result of songwriting, because when clients want a Hip Hop song, you will do it because you want the money, and that’s where my growth came from. I cannot even pinpoint to Amapiano or a specific genre, if I love the song I’ll do it because that’s who and where I am.
Deeds: What was your wildest dream or imagination when pursuing music even before “Mwaki” went viral?
I think I just wanted to be famous. Just like any other artist, you think you’re going to be famous. You do 100 songs and none of those songs are getting anywhere, and you think this is crazy, but you still keep doing it. I think though there’s a certain EDM producer I really wanted to work with once I imagined I’d blow up, but now that things have happened the way they have, it’s actually not a big deal to get them to work with me.
Deeds: ZERB mentioned quitting music before the song took off. Were you always confident you would make it as an artist?
As an artist you’re never confident because you’ll write 1,000 songs and none of them take off while you think “This is the one”. But I’ve never got to the point of thinking of quitting. I had a strong faith that I’ll make it one day.
Deeds: What is your thought on people labeling artists “One hit wonders”?
People say whatever they want. Some people are online to encourage others, and others are there to make you feel like you’re doing nothing. I really don’t think much of such comments. If people that I’m working with closely or my label don’t think I can’t produce another hit, then I would be concerned. But people that don’t work with me, who don’t know me, have never heard another song besides “Mwaki”, who haven’t made any effort to listen to my music, that doesn’t bother me.
Deeds: You have been seen a lot with African music ambassador Fully Focus. Speak to your relationship with him, and are you now officially signed to Passport Music Group?
I am officially signed to PMG. We actually have a new project out now that Focus and I collaborated on called Kikuyu House. Focus is a good friend, founder of PMG, he has guided us, and has been good to me and my husband. He has changed our lives, and we appreciate him a lot. We thank God for him, and we pray we can also change his life like he did for us.
Is there a pressure that comes with the recent and surmountable success?
Deeds: Speak to your mental health at this moment.
I am a very quiet person. I’m an introvert. I do well with people. But from the inside, I’m really trying to be in a space where there are a lot of people, but from the outside, I’m blending in so well or so I think. The only pressure is when I go out now, I take a lot of pictures, I talk to people, I smile to people but I’m hoping to get used to that. I didn’t think about all of it while I was praying for all of this. But I’m not struggling. It’s been a good moment. I think ive learnt that these are people who I have encouraged, I’m the one that made them love me, so I take it with a joyful heart and face.
Deeds: What are some of your most valuable learnings following “Mwaki” blowing up?
One of the main ones is, at the end of the day, you will get the results if you keep pushing. If you’re patient, these are all results of that. There’s the saying “hard work pays” because last year we did a lot of that and it’s true. Pray you also end up being with the right people, who care about you, because you can fall anywhere especially when you become famous: there are greedy people that want to take advantage of you. Or you can fall on hands that God has appointed for you, so pray you are mature enough to know that. You have to be alert when things like this happen. Don’t rush to make decisions because “Haraka Haraka Haina Baraka”.
Deeds: Of all the records you have broken, such as becoming East Africa’s most streamed artist ever on Spotify, is this translating financially?
It is. Like I said before, it has changed our lives and generations.
Deeds: How has your relationship with ZERB grown?
I think we’ve both been really busy, so I can’t say it has grown. We don’t talk much. The fact that we are all under different labels, we are not the people that are negotiating or arranging stuff, the videos or anything, we both just show up.
Deeds: What is on your 2024 checklist? Any plans we can look forward to?
I have amazing music on the way. I have been recording and such. From collaborations with Fully Focus, Major Lazer and others, we have a lot coming. We are hoping to have an EP, or an album by the end of the year as well as a show so we are praying that it comes to pass. We will also be playing globally but I’m hoping I can be on Tomorrowland, but we are hopeful.
The Unconventional Artist: An Insight into an Anti-Rapper's World
In the vibrant landscape of African hip-hop, Nasty C distinguishes himself as an "anti-rapper," focusing on a path divergent from typical rap culture. His latest album, birthed from personal struggles and introspection, marks a significant evolution in his career. This interview sheds light on his unique approach, deep connection to his South African roots, and ventures beyond music into gaming and esports. Nasty C discusses his artistic journey, future aspirations, and the special bond he shares with his fans, offering a glimpse into the life of a distinctive voice in the rap genre.
Q: You've described your lifestyle as 'anti-rapper.' Can you elaborate on that?
In the dynamic realm of rap and hip-hop, it's not uncommon for artists to deviate from the norm. But what truly sets me apart is my anti-rapper lifestyle. The typical indulgences – fashion, sports, and the like – hold little allure for me. While I acknowledge their appeal, they fail to stir the kind of fervour in me that's often seen in my contemporaries in the industry.
Q: Your new album seems to hold a special place in your heart. What inspired it?
A: My latest album is deeply personal; it showcases a labour of love and reflects my deep-seated appreciation for life– the sheer joy of being alive, surrounded by love from friends and family. It was conceived during a phase when I felt disconnected from everything, questioning the worth of my career and relationships. Despite numerous setbacks in my personal and professional life, this project symbolises my emergence from that dark space. marking my journey to a more positive mental state.
How was the process of making this album different from your previous projects?
The creative process for this album was unlike any other I've experienced. Traditionally, I handle most aspects of production independently, preferring to exchange song ideas remotely rather than collaborate in person. However, this time, I insisted on a communal approach, gathering everyone involved in the same space to capture the right energy and understanding of the album's core message. We experimented with live instrumentals – a novelty in my musical journey. With melodies and samples played live, I collaborated with my favourite producers from various corners of the globe, including London, LA, and Africa, converging in Cape Town's inspiring beachside setting.
What message do you hope to convey through this album?
A: This album's essence revolves around love – its appreciation, celebration, and the propagation of positive vibes. It's a testament to being comfortable in one's skin and savoring the gift of life, rather than merely existing. As a voice for my generation, I recognize the gravity of my influence. My music, therapeutic in nature, is not only a personal catharsis but also resonates with others, reflecting our shared human experiences.
Can you share your approach to collaborations?
A: I'm selective with collaborations. I lean towards those who bring something unique, especially singers; preferring partners who add a distinct flavor to the mix. I've always wanted to sing but found that true singing talent is a rare gift.
How have you evolved as a lyricist over the years?
A: My style has evolved significantly. I grew up admiring technical rappers, which influenced my early, more structured style. But over time, I've learned to simplify, making my lyrics sound more conversational.
Lyrically, this album marks my evolution. Influenced by technical maestros like Lil Wayne and Slaughterhouse in my formative years, my earlier style was structured and punchline-centric. However, I've gradually transitioned to a more conversational style, simplifying my narratives while maintaining their depth.
This transformation in my lyrical approach has permeated my speech, enhancing my expressiveness and articulation. Though not yet a global sensation, I am confident that international acclaim won't alter my core identity as an artist rooted in South African culture and hip-hop tradition. My music, visuals, and fashion continually pay homage to my heritage.
With your growing international recognition, how do you stay true to your roots?
A: My South African heritage and hip-hop identity are core to who I am as an artist. I always incorporate elements of my culture into my music and visuals, ensuring that global recognition doesn't dilute my identity.
Tell us about your connection with your fans and your ventures outside of music?
A: My fans are crucial to me, which is why I've created the Iverson Army, a community for direct interaction and exclusive content. I also delve into gaming and esports, aiming to expose African youth to diverse opportunities in the industry.
“Iverson Army – a community that offers exclusive access to merchandise, events, and direct interaction with me. I also engage with them through streaming, fostering a deeper understanding of who I am and the essence of my music.”
What does the future hold for you in terms of your career?
A: The future is exciting. I'm looking at more albums, tours, and possibly exploring acting. My aim is to extend the reach of my music and gaming company, making a global impact.
Beyond music, my entrepreneurial ventures in gaming and esports aim to open doors for African youth, not just as players but also as commentators and content creators. My childhood home now serves as a studio and gaming hub, nurturing creativity in my community.
Looking forward, I have ambitious plans spanning more albums, tours, and possibly a foray into acting. My mission is to amplify the reach of both my music and gaming enterprise, aspiring to leave a lasting global impact.
CREDITS
Photographer: @Bytunde
Art Direction: @jubi.Jamba
Movement Direction: @Pauloriakuu
Creative Direction: @styledbyglo_2
Styling: @styledbyglo
Lighting: @jubistudios
Assistant Stylist: @rellyluv
Assistant Stylist: @kwazedot_isblack
Producer: @robnewmanili
Design: @deeds.studio (@dianeadanna)
PR: @Twosixeight.studios
Writer: Hafeedoh Balogun
If it were to be asked, "What is your favourite thing about Africa currently?" What would you say? Mine is "Aa, how far?" A combination of the Venda word for hello and a staple phrase in Nigeria.
Makhadzi Entertainment recently presented their latest hit single, 'Number1', featuring the collaboration of Nigerian superstar Iyanya and South African producer Prince Benza. Makhadzi, known for her dynamic presence as the queen of the Venda Pop Genre, collaborates with Iyanya, who brings his distinctive Afrobeats flair, and Prince Benza, whose beats are a staple in South African music.
Makhadzi is 27 year-old Venda award-winning singer-songwriter and dancer from Limpopo, South Africa. She started dancing at 12 and has since been famous as Makhadzi wa vho rine meaning "our aunt." However, since 2017, not only is she the most played artist in the southern hemisphere, but she has also gone international with genre defying features.
The essence of the ‘Number 1’ revolves around the affirmation of self-worth, advocating the importance of prioritising self-love and empowerment. A love which ultimately gets poured out to surroundings - because hearts are like trees, if watered by toxicity, the fruits become poisonous and kills its admirers along with it.
With a universal message that inspires individuals worldwide to embrace love and peace, it fosters unity and understanding devoid of comparisons. Through its uplifting lyrics, 'Number1' encourages listeners to celebrate their uniqueness and extend compassion towards others, ultimately advocating for love as the guiding force in all human interactions.
Not only is it preaching what everyone likes to hear, but the combination of cultures in the music video is highly commendable. From the wardrobe to the choreography, the blend is remarkable.
Of course this sounds like an exaggeration, but how many projects acquaint Africa's South and West? Most importantly, how often does international romance local?
The choreographically featured cultures are Pantsula, Zulu's Indlamu, expertly combined with modern takes on various dance styles. The indigenous clothes worn by the models, whose interaction is the focal point - redefines cultural appropriation. A term that often dines with Xenophobia in South Africa.
The consideration of cultural elements such as the ones displayed in ‘Number 1’ is vital for various issues such as debunking the political lens concerning cultures. It also redeems the history of the African continent, a history that was deemed non-existent and primitive for centuries by Westernization.
It reflects Africa's unity, in the sense that even though barriers such as language, land borders, and differing traditional attires, love is a colour common, a one size fits all dress, and the language of unquenchable desire yearned for by all.
The waving of national flags towards the end of the video, namely Ghana, Nigeria, and South Africa amongst others reveres the indescribable bond strengthened by the unambiguous need for unity. Talk about artists being ambassadors for change, everyone who worked on the project has outdone themselves.
The storyline of the video and its execution is to Africa, the sort of craving you can’t seem to figure out until you see it! Because of that, it is a collaboration that blesses culture.
“Challenges are inevitable in every relationship. It's the willingness to work through them that fosters growth and deeper connection.” – Anonymous. Even the sweetest love has its own rocky moments, and that is exactly what Tekno has brought to us in his new single, ‘Wayo.’
Last year, the Headies award winner, Tekno took us on an electrifying ride with his album ‘The More The Better,’ that was full of Afrobeat rhythms with contemporary pop sensibilities. Each track of the energetic album served us a series of irresistible grooves, vibrant melodies, and dance-worthy beats. Every emotion ranging from euphoria to liberation was felt as he dragged listeners from upbeat tracks to ballads, flaunting his versatility as an artist.
Augustine Miles Kelechi, popularly known as “Tekno” has demonstrated his excellent skills in songwriting, producing, and singing ever since his debut in 2015. Born on December 17, 1992, the 32-year-old artist has infused his footprint in the music industry over the past nine years through essential Afropop classics like ‘Duro’ and ‘Pana’ that garnered him praise from musical curators such as Billboard and Rolling Stone. With his mastery of the distinctive fusion of Afrobeats, Afropop and R&B, he successfully captured the hearts of international artists like Billie Eilish, who proclaimed him as her “favorite artist ever.”
With a groundbreaking new partnership between his Cartel Music imprint and global independent label emPawa Africa, the brainwave behind the international music sensation, Mr. Eazi, he has dropped another hit, ‘Wayo’ as his first song in the label. As a trailblazer for Afrobeats, Tekno has penned and produced hits for the likes of Davido, Swae Lee, and Drake, titled ‘If’ and ‘Won’t Be Late,’ respectively, which both got a RIAA Gold certification.
‘Wayo' is written and produced by Tekno and Grammy Award-nominated hitmaker ShugaVybz, and it sees Tekno reassuring his lover of his pure intentions and undying devotion over infectious percussion, hypnotic synths, and lush guitars and directed by Forbes 30 Under 30 filmmaker Dammy Twitch, and starring Nollywood sensation Uzoamaka Aniunoh, complementing the song's narrative of resilient love. The beautiful scenery of Lagos where it was shot, input additional ambience denoting the bubbling scenery of their daily lives.
‘Wayo’ – which means to “scam” or “deceive” someone in Nigerian slang, encompasses the message of true feelings in his confession to his lover and clear intentions, “I no come do wayo”. With his sexy and beautiful proposal, he asked if he would get a return if he invested in her love. This is leaving us with the fact that love is an emotional business for the singer, and he’s only interested in investing it in someone who will reciprocate his energy and make it worth it by emphasizing on his need for peace. “Give me peace my baby / call me my baby.”
The official music video opens with a lovey-dovey scene between the couple as they make finger-heart symbols on a date. Filled with several romantic mushy moments, the artist impressed it hard on our hearts that love has to be fueled with several happy moments from dates, hangouts, words of assurance, and setting your differences aside.
“Love no easy eh,” which was the opening lyrics, signified that the artist had a sojourn through all the good and bad emotions that come with loving someone. “Do you really believe in this thing called love?,” showcased his fear even in the sweeping wave of his emotions which is absolutely valid. He went as far as confessing that he’s not in for a scam love because investing in an emotional business with no promising return is too risky, “If you no be real o, I no do again o / Abeg, I no come do wayo.”
‘Wayo’ brings to life a heartfelt narrative of love, resilience, and forgiveness. As smooth as the love appeared to be, it hit a rocky bump at some point which caused a temporary separation between the couple. A series of explanations, assurances, retracing of steps, admission of faults, and fixing of loopholes must have happened behind the scenes as the music video closed up with their reconciliation scene. Love is indeed a beautiful thing.
To sum up, ‘Wayo’ can be used as an illustration of the emotional rollercoaster in a relationship. With its lyrics filled with expressed intentions, desire for peace, and a declaration of undying love, we can only conclude that Tekno has gifted several couples out there a melodious track to proclaim their love to their partners and also set things right for a lasting relationship. Tekno’s over two million subscribers on Spotify are once treated to a tantalizing banger, and we can only expect more of it from the superb artist in the near future.
There is no doubt that Hip-Hop is one of the biggest genres in the world, with origins that date back decades. The genre gained so much popularity it now has a direct impact on urban culture, fashion and lifestyle. With all this influence, it is impossible not to wonder which new acts will be the new leaders of this genre. Moreover, which up and coming female artists will triumph, dominating this heavily male-dominated space?
Times are changing because now, with the rise of female Hip-Hop artists, they are gaining the same level of respect, recognition and acceptance on the stage and on the airwaves.
Female artists usually have to work twice as hard to prove themselves in the industry, especially in the world of rap as the biggest faces in rap music are men. Women continue to defy the odds. And this review is shining a light on South African hip-hop artist, Ney as she gets set to release new music this month with ‘Vuka’.
Ney, who’s also widely known as Anele Zondo, is a South African television personality, and an actress turned musician. Hailing from Newcastle in KwaZulu Natal, Ney set her sights on starting out in the industry as a television presenter on the music show Massive Music and as an actress on the South African hit telenovela The River.
She furthered her career and entered the world of music as a female MC. She released her debut single ‘Ingwe’ featuring South African artist Given Zulu in November 2021 which garnered her entry into the music industry. Her music video for the single topped music video charts on the major music platform Trace Africa. And she has since collaborated with artists such as fellow rapper Nadia Nakai, DJ duo Tango Supreme and Amapiano producer Tony Duardo.
On 1 April 2024, Ney took to her Instagram to announce that she would be releasing an EP titled ‘Vuka’ which she defines as “The era of awakening”. Less than two weeks following the announcement, she released not only one but two singles off the upcoming EP titled ‘Simon Says’ and ‘Itching’, which features hip-hop artist Maglera Doe Boy. She has also revealed her track list which features a host of other South African artists such as Sauwcy, Roiii and SuperCye.
Her music showcases a unique blend and approach to Hip-Hop — she proudly raps in her native language isiZulu and her ability to create a catchy flow and rhythmic adlibs is something that is extremely distinctive in her sound. Her choice of collaboration is widely inclusive, as she excels in involving more female artists in her music irrespective of their own respective genres which is something that is rare in hip-hop as female artists are often pitted against each other.
Ney has definitely had an amazing transition from television to music, which is beautiful to witness as she sets to solidify her place in the hip-hop arena. She prides herself in her various crafts and that is an art form like no other. She sets to turn around the narrative in Hip-Hop, which promises to instill confidence in other aspiring Hip-Hop artists and musicians to step out and create a name for themselves in this male-dominated music world.
There is room enough for everyone on the table with South African hip-hop because each one enters the scene with their own sound, fusions and variations with other influences for South Africa, Africa and the world.
Ney’s debut EP titled ‘Vuka’ set to drop on 24 May 2024 on all major music streaming platforms, including Apple Music, Spotify, YouTube and Tidal, and is currently available to be pre-added with two pre-released singles on the EP already available.
Can you tell us about the inspiration behind your recent album, “Doghouse,” and what it means to you to have achieved the first Irish #1 album by a Rap Act in history?
Our inspiration was found by being in the mode of constantly grinding. Following Full Circle, there was massive success but nothing changed. So when we were loading up for Doghouse, we knew that we had to put in the work to get into a space where there would be the best possible outcome for our future. Doghouse actually flips the original connotations of the phrase, turning bad words into positive outlooks. After Full Circle reached No.2, we needed the No.1 for Doghouse, something which hasn’t been done before (being black and Irish) - so it means a lot more. We are now going down in history, showing that it really CAN be done. This means that young artists in the same lane can see how previously impossible achievements are now becoming possible. I always wanted someone to look up to when I was younger - now I am that person.
How has your Nigerian heritage influenced your music and creative vision, especially in the context of making history in the Irish music scene?
I moved to Ireland when I was 6 years old. As a result of not being in my home country, I was dissociated from everyone else. But, being in Ireland helped me find my path. I never found things cool that everyone else did, so I had to find myself. Growing up, people would tell me that I’m not Irish - regardless of if I had the passport or not – even though I’d lived there forever. I felt like a bit of a stranger, having to work out how to blend my two lives. I am forged in Ireland, but my roots are Nigerian (Motherland Energy) - the sounds of the songs and tones of my voice are spawned from this fact. My Aunty sang to me in Ireland from 14-19, so these inspirations have always been around me, and have continued to follow me through the different stages of my life.
What do you hope listeners take away from “DOGHOUSE,” both musically and thematically?
Essentially, working hard. We are the first rap group going crazy like this, building a core audience in Dublin as well as elsewhere. Fans either love all the songs, or most of them, whether it is the music they listen to normally or not. People feel our energy, they understand the flow, meaning they resonate with the music. Dublin IS the Doghouse, you only really come here to lock in and work - there isn’t much else going on. It's in a rebellious stage where the youth don’t want to conform to a 9-5 job. Young people then get driven out by the government spending money on useless things instead - we are building a community that allows space for these people to come together and thrive. I want people to understand how much I put into the project, I’ve left parts of myself in there. Our lyrics have always followed us throughout the years - K9 freestyle (Full Circle) contains bars that we've followed through on: ‘Maybe next year you’ll see us on the covers and in & out charts rotating'. I just pray that God allows things to keep going the way they are.
Looking ahead, how do you envision your music and career evolving, especially after the success of this album?
My music evolves with me, that’s what inspires it. Right now, loading up the next project (a solo project) scares me - I’m completely out of my comfort zone and a bit unsure as to how it’ll go. I want to look back and know that I've really made noise, that this is it for me. So, I’m taking my time with things. I don’t want to put too much pressure on myself or the music, or I won’t end up doing anything. I need to just trust myself, and believe that it’ll be another amazing project that people will continue to feel. I'm very excited though, because I have some crazy ideas. As I get older, I’m getting wiser; I’ll always say whatever I want to, but I want the music to really speak to the audience with honesty. People need to see the real me, and become closer to me.
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