There's something magnetic about Jacob Hunter's confidence when he says, "I'm not a songwriter." It's the kind of statement that makes you lean in, especially when you realize this is the guy behind some of your favorite tracks, Davido's "Anything" and "10 Kilo," Tekno's "No Forget", and those soul-stirring Oxlade songs that hit different on late nights.

Born Marvellous Chukwuebuka Oweazim, Jacob has this way of talking about music that feels almost spiritual. He doesn't create songs, he says, he's just the channel they flow through. And honestly? We believe him. The story of how he did it, and what it taught him about his own artistry, is one of those conversations you don't forget.

Deeds Magazine: What first drew you to songwriting, and can you pinpoint a moment when you knew this was the path you wanted to pursue professionally?

Jacob Hunter: The thing is, I'm not a songwriter. I always tell people, it's funny, but I'm an artist. I'm a singer who knows how to write songs. I believe I have so much music inside, enough music not just for me but for others. So from myself, I pull out into others. I wouldn't say I found my place as a songwriter. I think I'm still bringing out my music. When you hear people sing songs that I write, it's just me sharing my music. I would say I'm a singer-songwriter, not just a songwriter. It's just time, as time goes on, you get to see a lot of things. I'm still the same guy that writes songs.

Deeds Magazine: Looking back at your earliest songs versus today's hits like "Anything" and "10 Kilo" with Davido, how would you describe the biggest shift in your writing style or perspective?

Jacob Hunter: Obviously, it's a privilege to write for someone like Davido. Working with Davido is challenging because that guy has so many ideas going on in his head. For him to accept yours is sometimes mind-blowing. But here's the part, I wasn't the type of guy that would write for someone like Davido. I normally don't do that type of music. I make more soulful music, Afro Pop, but not Davido's type of music because my music is more soulful.

Writing for Davido challenged me to bring out something different from myself. When we were sending ideas to Davido last year, we were going back and forth. The first draft I sent through Louder, shout-out to Louder, he's the guy that put me on with Davido, he was like, "This is a very great song, but this is not a Davido song." A lot of producers knew that Jacob does soul music, Afro Pop, he's not the ideal guy to call to write for Davido.

That got to me. I was like, "You know what? I'm gonna prove everybody wrong." So I went on a journey with Davido's career and listened to all his albums for three days. I was soaking that Davido feeling. That's when I did the first sketch of "Anything".

Deeds Magazine: Walk me through your experience co-writing "Anything." How did the hook, lyrics, or melody come together in the studio?

Jacob Hunter: The thing about Davido is he always finds a way to make anything good. You can send him a very rough idea and he turns it into something completely different. It's just crazy. So we sent "Anything," and then "10 Kilo" was different. By then, I was in his bag. I mean, I was no longer struggling to see how I can write for Davido. Davido was easy for me mentally now.

I think "10 Kilo" was the fastest and easiest song we did. There was no brainstorming. I'm a product of grace.

Deeds Magazine: How does your vision for a song mesh with an artist's vision to create the final result?

Jacob Hunter: When I write for people, I tend to write like them. I tend to create something that they would create. If I was this guy at this particular point of his life, what would I want to think about? "10 Kilo" was the easiest because I was in the hotel room. I did like two songs that day. I just vibed on the beat straight up, and it was "10 Kilo." We sent Davido the idea, he loved it, he killed it.

For me as a person, I don't really waste time writing. I'm not the guy that takes seven days to write a song. I believe that music is given and music comes from a source. I don't act like I'm the one creating. I'm just the channel for these things to walk through. So I make music as fast as possible. I write five songs and I'm done with five songs in one hour. It depends on the frequency at which I'm thinking and connecting at that moment.

Deeds Magazine: You've written for both established names like Davido and rising stars like Crayon. How does your approach change when you're writing for a superstar versus a rising star?

Jacob Hunter: There are two things here. I'm a product of grace and talent. When I meet an artist, within the next five minutes, I get to know how you think musically. It's just something for me. When I'm with an artist and I'm writing with an artist, I get to know how you think musically.

There are two people, there's Jacob Hunter the artist and Jacob Hunter the songwriter. So the artist has to sit back and the songwriter has to come forward. It's the duty of the songwriter to serve the artist. You have to move into where the person's head is at. If it's a song for a heartbreak, you have to get your heart broken in five minutes. You have to understand the frequency the person is on.

If I'm with Crayon, we vibe. I know what Crayon is thinking in the next few minutes. Most of the records I do with Crayon, we're always in the same space. We make songs together.

Deeds Magazine: With songs like "No Forget" and "Pounds & Dollars" for Tekno, you moved between R&B and Afropop. How do you pivot your pen to match an artist's mood or genre?

Jacob Hunter: "No Forget" is Jacob Hunter. "No Forget" is my type of music. It was actually my song, it's for myself, like personal stories. "Pounds & Dollars" is Tekno, that's me getting into Tekno's space, working with him. "No Forget" is what I would think, and it's an idea that Tekno actually liked. That's the difference. "No Forget" came from a real place. If you hear even the beginning of the vocals, you'll hear my voice, and it's soulful. That's my type of stuff, R&B.

Deeds Magazine: Oxlade's "Piano" and "On My Mind" lean into soulful, intimate vibes. What special considerations guide you when crafting songs for a voice like his?

Jacob Hunter: Oxlade is like my brother, like my blood. We listen to similar artists. You need to see how Oxlade and I vibe, we share telepathy. I believe we're both musical geniuses and we connect on a very beautiful level. I can do a song and Oxlade can carry it. Oxlade can do a song and I'll carry the song. Is that crazy?

We're both R&B guys. We listen to a lot of Chris Brown, Michael Jackson, especially Michael Jackson. So it's not really hard for me to get in pocket when I'm writing with Oxlade. I don't try to get in his pocket because we both make music from a genuine place. He's able to match up to my energy level, I'm able to match up to his energy level. We both had vocal coaches while growing up, same style, same vibe.

Deeds Magazine: Your co-write "Upstanding" gave Morravey a standout moment. What did you focus on to help shape a unique sound for a newer artist?

Jacob Hunter: Morravey. The first time was in a session. We just vibed. There were a lot of people there because I was not the only person that wrote on that song. There were a lot of people that created with me. It was just a place where everybody had very good energy. I brought my idea, you bring your idea, and we created something good. Two songs actually, "Upstanding" and "Ifineme". It was just a place where a lot of songwriters were present, so we all created something good.

Deeds Magazine: When you see streaming numbers climb or success with your songs, does that real-time feedback influence how you write or choose which songs to push next?

Jacob Hunter: Honestly, I'm grateful, but I know it's all heading to a destination. The songwriting is just my entrance into the industry. I come from a place where you have to do what you have to do to survive. Music is expensive. Music is not something you just do if you don't really have a lot of money. So I had to create for people in order to create for myself. It's all means to a destination.

I'm still gonna keep writing songs for as many people as possible while I'm dropping my own songs. I think the real goal is to have my songs, the ones I wrote and the ones I sang, number one at the same time. That's the real goal. So it's all just means to a destination. I believe I'm just a product of grace.

Deeds Magazine: Viral TikTok challenges and Instagram reels now drive hits. How do you factor in social trends when you sit down to write?

Jacob Hunter: Unconsciously, maybe, but the aim is to create a very good song. I think the songs that blow or go viral on TikTok are good songs. So I don't think about TikTok first. I think maybe when I'm done with the song and I hear it, I'm like, "Oh, this line could actually go viral." I don't think about TikTok first because I believe if the song is good, it's gonna fly regardless. I don't really think about TikTok first, but at the end of the day, you have people that are listening and they're like, "Oh, this part will be very good for TikTok." So I think about it sometimes.

Deeds Magazine: As Afropop and African songwriting continue to break global boundaries, what's one piece of advice you'd give to emerging songwriters hoping to achieve the kind of success you've found?

Jacob Hunter: I would have a lot of things to tell songwriters. The first question I would ask is: what do you want? Why are you writing these songs? You have to know the heart of whoever is writing those songs. Are you writing these songs as a songwriter? Because when you think about the songwriting industry right now, it's an industry filled with artists. There's no songwriting industry, there's a music industry. In Nigeria, songwriting is getting recognized now, but a lot of artists are writing for artists. For people who just want to be songwriters, my advice is: keep writing songs. Keep writing songs and try to practice getting into the head of whoever you're writing for.

For someone who's a songwriter and a singer like myself, I would say always be honest with yourself and never be contented. Don't be contented because you have money or because you think this is all you have. It's all timing. Keep building, keep writing songs for people, keep writing songs for yourself. Don't shortchange yourself. The songs you're writing for people are still part of the plan, it's part of God's plan for your own artistry, for your own music. It's shaping you.

Keep writing songs, keep making music. Music is something I'm in love with. I've been in love with music for the longest time. You won't find anybody that loves music the way I do. It's coming from a place of obsession. I'm obsessed with this stuff. So I'll tell you: be obsessed, because that's the only way you can be great at something. Be obsessed. Keep doing it over and over again. I'm not trying to motivate nobody here, but if you can do it, keep doing it. Always give yourself a reason to keep doing this stuff. If you love it, continue. That's it, basically.

Talking to Jacob Hunter feels like getting a masterclass in staying true to yourself while being exactly what others need. His whole approach, this idea that he becomes whoever he's writing for without losing himself, is something most of us could learn from, whether we're making music or just trying to navigate life.

What stays with me most is his obsession. Not the unhealthy kind, but the beautiful, all-consuming love for music that makes him write five songs in an hour and listen to Davido's entire discography for three days straight just to understand how to serve him better. That's the kind of dedication that separates the good from the great.

And maybe that's the real lesson here. Success isn't just about talent, It's about being so obsessed with your craft that you'll do whatever it takes to master it, even if it means stepping outside your comfort zone to write for someone whose music sounds nothing like yours.

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Returning to Hyde Park annually always brings an energy to festival season in London that feels like something not to miss. On this occasion, joining the masses gathered in the park, the main attraction was none other than the current pop princess, Sabrina Carpenter.

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To say that Sabrina has had a good year is an understatement. From the release of 2024's Short n Sweet to her appearance at this year's MET Gala, not to mention a successful run of her Short n Sweet tour that has seen her gracing stages all over the world, she is busking in this moment. She is not stopping for a second with her follow-up album Man’s Best Friend already on the horizon, due for release at the end of summer. This feels like saying farewell to the Short' n Sweet Era, and what better way than hosting two sold-out days at BST?

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The lineup leading up to Sabrina is a treat for pop fans alike. We joined the crowd as they walked into the vibes of Sofy, who played the Rainbow stage and was a pleasant treat, having never experienced her talents before. Taking in the main Oak Stage, the all-female lineup started with Amber Mark, who set the vibes for the day ahead. She was followed by Beabadoobee, who played through her set, which was heavy on her 2000s pop teen soundtrack vibe, with the crowd singing along song for song.

As the time for Sabrina's performance approached, the anticipation in the air was palpable. When she finally graced the stage, the crowd's energy was at its peak. Starting with “Busy Woman” and then moving into the album opener, “Taste,” she set the tone for the show. It was a collective singing session from then on. The hour and 20 minutes showcased Sabrina in her full glory, a testament to her journey from opening for BLACKPINK to headlining two sold-out shows.

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The show was a visual spectacle, with a production that had Sabrina's name in the lights. At one point, she even moved through the crowd, creating a sense of intimacy. The highlight was when she was lifted higher on a platform as she performed “Don’t Smile,” bringing her even closer to the crowd. The show was a testament to her star power and was worth the wait.

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Having missed her headline show during the Short n Sweet tour, this was the perfect opportunity to witness Sabrina in her full star power. Her setlist was a journey, from the Beyoncé cover to the fan favourite “Please Please Please”, the album standout track “Bed Chem”, and the emotionally charged acoustic rendition of "Sharpest Tool”. And of course, the show wouldn't be complete without the summer standout hit “Espresso", which she performed with a fireworks show to close out the night.

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Ultimately, the rise and elevation of Sabrina Carpenter have been something to witness, and having been able to experience this on almost a perfect summer's day, we are among many who can attest to her success. 

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Ice Baby and Buggy are two brothers from Staten Island, New York, and are better known as the G4 Boyz. Their journey into music began with the release of their debut single, "Bricks," back in 2013. Establishing their sound of 'scam rap', the two Drill artists entered the scene with their unique style to the genre.

Since their arrival, they've had success with songs such as "Patek Phillipe", which was the first hit the duo had and helped establish their presence on the NY Drill scene. As well as "Local Scammer which saw them team up with the UK's G4 Choppa. 

The duo's journey into music was always bound to happen, given their heritage from Ghana and Nigeria, which came from both their parents. The two spent time on the continent, gaining an appreciation and knowledge of the musical sounds that originated from West Africa. As brothers, they spent their time creating content online, not really thinking much about their musical careers. The encouragement from others around them led them to experiment, and they began filming videos and sharing their content online, which eventually became a way for them to express themselves and share their experiences as African Americans growing up in their particular environment. 

A decade after arriving on the scene, their entire ethos is rooted in authenticity and not trying to be something they are not. "When it comes to drill, it tends to be heavily rooted in the violence of it all, but for us, that wasn't what we wanted it to be about. We want to discuss what's truly happening in the real world, in our culture." Ice Baby shares with me what defines 'scam rap' and how it is recognised as its distinct sound.

Speaking to both Ice Baby and Buggy with the successes they have had in their music and other creative endevoers that have included fashion and film, the two are all about lifting their culture and empowering what it means to who they are and how they have been able to navigate their careers and still maintain their authenticity as players in the New York Drill scene.

So first of all, how did you guys start making music together, and what was the initial idea that sparked this music project?

Ice Baby: So, we've always been into music because of our Nigerian and Ghanaian culture. My mom, dad, uncle and our older brother are playing music around us.  It was just something that naturally came to us, allowing us to do music. What we always wanted to represent when we were making music was to incorporate what was happening in our lives and what we were hearing at the time. So, when we came, we always came as the representative of being Africans born in America and the experience of being Africans raised in America and not being accepted. So, music was our comfort, allowing us to express how we felt during difficult times.

How did the process of making music together begin for the two of you, and did it become something you wanted to do together?

Buggy: For us, we've always been multi-talented. Even though we were born in New York, my mother sent us to Africa when we were very young because she wanted us to learn about our culture and roots and have that grounding. We first started vlogging together and were sharing what we had going on; then, people started telling us we should try our hand at music. So naturally, we started doing our thing.

With coining your sound as 'scam rap', how did you come to develop and create what that would be?  

Ice Baby: When it comes from us, it stems from our culture; it comes from hearing Fela and other legendary artists we grew up with. It's the vibe, the energy, and being competitive. As Nigerians and Ghanaians, we have always been competitive, whether in sports, academics, or fashion. We don't follow other people's movements; we are trendsetters, setting the tone for what we want to do. When it comes to drill, it tends to be heavily rooted in the violence of it all, but for us, that wasn't what we wanted it to be about. We want to discuss what's truly happening in the real world, in our culture, and in American culture. What we do is speak about empowering our people; it stems from our experiences, and that's why we've developed this new sound.

Getting from that point to where you are now, what does that look like for the two of you, and how has your sound grown from the first single up until now?

Ice Baby: Our music is still a fresh sound that the industry is not yet accustomed to. Therefore, it's challenging to put us in certain situations because they're accustomed to presenting themselves in a certain way and discussing specific topics. So, when we start speaking about what we speak about, it sounds so different to what people expect. And the reality is that the content we discuss, when compared to the current content out there, as we grow, we're working with new sounds and new energy. As you can see, there is a distinct difference between "Patek Philippe" and a "Local Scammer". One thing about my brother is that we have always found ways to make our sound fresh and new every single time we're about to roll out something new, which is what's coming next.

Having released your last album, Glitch Boyz, last year, what would you say has changed in that time, and what can you tell us about the music you're making now?

Buggy: So, with our sounds, what happens is that a lot of people on the internet start to steal them and take from them. We're always finding new ways to deliver the music in different ways. Right now, I can't tell you what that sounds like because if I tell you the source, people will be ready for the taking. So you have to wait and see how we do it. But know that we're cooking up a brand-new sound, and people will enjoy and have fun with it. We strive to create music that people can relate to while also having fun with it because life is hard. We aim to create something that brings people joy and makes them feel good. We have just returned from Nigeria and Ghana, so we worked with many new people. We can't say who yet, but know that the sounds are sounding, and the vibe is vibing.

Without revealing too much or saying too much, where do you feel your particular sound is going?

Our sound? It's evolving — but it's still G4 to the core. Drill, trap, afro-fusion — we blend it all. We possess that lifestyle energy, but we also bring substance. Expect more cultural flavour, more global sounds, and more melodies, but still raw. We are not chasing trends. We are setting them. Expect the unexpected, as we have some spiritual tracks coming too—same flex, but with deeper layers. Chop life, praise God, and count blessings. Simple.

You also have creative interests that you pursue outside of music, and fashion is a significant part of how you represent yourselves. So, how does that come to be a part of your creative identity?

Buddy: As my brother said before, we don't follow trends because, because of our trauma of coming from a culture where people make fun of us, we don't want to be like everybody else. Growing up, Prada was a brand that always felt like it represented what it meant to have wealth and status. There was a time when everyone was wearing Prada, but then it was phased out, and people transitioned to newer brands. We just started wearing Prada all over again, and there was a silhouette called American Cups that they no longer make. However, we started wearing it again, and we began to go viral on the internet for doing so, to the point that Prada brought it back. And so, for us, it wasn't even about the fact that we were wearing Prada again. Still, more importantly, we were able to establish that we could afford it. We were able to express ourselves in that way; we take that very seriously when it comes to how we dress and how we look; because of our personal PTSD of people making fun of Africans, we always tell ourselves we're going to dress nicely no matter what that's and why we so into fashion now.

Ice Baby: As far as fashion and style, we take fashion very seriously. For me, with Prada, it was more about the cut, the look, and the silhouette; it was different from everybody else because it puts you in elite status. I always wanted to be represented because of the trauma of being disrespected, and we had to fight back. For us, fashion and how we dressed were ways we could express ourselves and move past some of the things we went through. We have to do everything differently, and that helps us in our music because we represent a whole type of way. People do Dior, they do Gucci, but Prada makes us feel something. I feel connected to it.

What is next for you both?

Buggy: Currently, we're focusing on expanding this movement globally. G4ChopLife season never stops — we have new heat loading, more anthems, and more sauce. We've been cooking up heavy, stacking unreleased tracks and lining up collaborations with some big names from the UK to Lagos. We're looking to shake up the summer with some international bangers. You already know the vibes — more money talk, more inspiration talk, but still.

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There was a time when music had weight. Literally.

Vinyl records go way back. Before now, when listeners access music through digital formats and can shuffle playlists or dance to the tune of algorithms feeding us the next “vibe” in music, there was vinyl. It wasn’t merely another music format. In fact, vinyl records give music a warmer, more natural sound than digital music formats. It was music in rich depths. It made the listening experience golden. In today’s hyper-digitized world where even silence feels monetized, it’s time we revisit what vinyl was really about: presence.

Vinyls put a spin on the way music was consumed, especially at home. Putting on a record wasn’t a passive activity, considering that it often demanded the intentional act of choosing it. You dropped the needle and let it play — no skipping, no reordering, no background noise. Just you and the sound. The warmth streaming out from the voices of veteran musicians who owned the times. The auditory experience that vinyls grant you is to take you back in time to when the songs were, demanding you stop whatever you were doing and feel something. Vinyl didn’t just let you hear music. It lets you live in it.

For newer generations whose initial exposure to music was through CDs and other digital formats, vinyl is re-entering the chat. From its revival in the past decade, vinyl is becoming the bestselling physical format for recorded music today. 

The vinyl renaissance is a quiet protest against fast content and its consequence, the disposable culture. The physical thrill it offers stands against the idea that music should be easy to consume and even easier to forget.

People are buying records again not just for the sound, but for the experience. You sit with an album. You stay for side B. You get up to flip it over. Acts that come together to say about patience, about care, about listening with your whole chest.

Vinyl is how music says: Slow down. I’m not done with you yet.

And maybe that’s what makes it feel so radical today. In a world that pushes us to consume more, faster, louder — vinyl asks us to just… be. To sit still. To listen all the way through. To treat music like a body of work again, not background noise for productivity.

So yes, the vinyl revival is cool. But it’s also a reminder that some of the best things — music, connection, memories — aren’t meant to be streamed and forgotten. They’re meant to be held, lived with, and replayed over and over

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The lives of entertainers are often shrouded by the content they put out. Music, movies, etc., all create a mental picture that compels you to fixate or ascribe personality traits based on the nature of the content, so we end up viewing them as a reflection of what we see, making assumptions about who they are in real life. There’s a sense of allure and intrigue that comes with breaking down those walls and truly seeing them for who they are. In this piece, we try to break down some of these walls, exposing the personality of one of Nigeria’s most talented vocalists.

Kahren is an emerging talent, trying to navigate the complexities and exigencies of Nigeria’s dynamic musical industry. Here, we look beneath the sound and rhythm, trying to understand who she is. In our discovery, we find a woman who is shaped by emotion, passion, and experience.  

Kahren (Anyanwu, Chisom Somto) is a multi-talented singer and songwriter. Residing in Lagos State, her music is indicative of diversity, embracing and integrating sounds from different genres. She brings a pristine and distinctive interpretation of these genres, creating something that is very niche.

Like everyone, Kahren occasionally has bouts that encompass doubts. “The journey hasn’t been straight. There are times I stepped away from music completely, and times when I wasn’t sure if I was meant to do this.” These questions creep in from time to time, and Kahren, like everyone, has experienced moments of partial or complete abstinence. However, her commitment has been stern, and her talent has given her the confidence she deserves. “Anytime I record and hear my own music back, something settles in me.” Her passions go beyond music, and when she’s not in the studio, she is fascinated by the intrigue and lure of makeup artistry. She “genuinely enjoys it,” and it is interesting to see that Kahren harbours passions outside the scope of melodies and lyrics. So, she’s always immersing herself in makeup content, occasionally finding interests that compel her to transform her face.

Her inflection point, that key moment, cannot be reduced to a singular instant but is a culmination of various experiences. For her, it was a journey, a sequence of constantly immersing herself in her talent that consolidated her passion to follow this path. “For me, I’d say recording and hearing back most of my songs is what really brought the feeling together.” As she describes, “It wasn’t a single moment, but those little moments in the studio where it just sounds right.” It is a classic tale of trusting the process and seeing where it lands you. For Kahren, music was not a trend to follow or a decision made out of fervent caprice. It was a process, and for her, “that’s when it all clicks.”

One’s musical proclivities may not always be a direct indication of a person’s personality or disposition. That noticeable contrast often creates a sense of intrigue and perplexity. For Kahren, she maintains a chill disposition, being both introverted and observant. However, her personality may also be fluid, depending on the setting and the people she’s surrounded by. So, Kahren is “a bit of both.” Most of all, she likes to create and experience moments where she can “let loose, have fun, and do silly or funny stuff.”

Kahren’s musical fluidity may be a result of her general receptivity to music. There is no definitive space or bubble. She enjoys what she likes, and that can be anything. So, although she may show a particular interest in R&B and neo-soul, she still listens to a lot of other genres. Her diversification has enabled her to collaborate with other famous names like Tems, ShowDemCamp, and Odeal. She also speaks about music from the early 2000s, which was inspired by a melange of different genres, the aggressive rise of digital media and technology, and shifts in mainstream pop culture. These influences inform her playlists, so her personal music library is both chaotic and personal. From Lola Young to Beyoncé, early 2000s jams, indie folk, and random movie soundtracks, it is indicative of a person who is constantly seeking inspiration. She especially loves “Circle” by Post Malone and “Charlie Brown” by Coldplay, because “those songs just do something to me.”

Her creative process follows a systematic guide depending on the trigger. “It starts with a melody. I find the melody first, then I trace it with words. Sometimes, I create the beat in my head; other times, I listen to a beat and build from there. I like to make sure everything feels right and structured, but still natural, before I record.”

If you’re wondering what weird talent she might have, Kahren is very flexible. “I can fold my arms and take my hand all the way to my back.”

Consistency and perseverance with a touch of personality are often the accredited hallmarks to succeeding in the music industry. Kahren internalises these qualities, making her rise to fame even more assured. Getting to know her beyond her voice has put things into perspective, especially in terms of her visual presence and voice. We’re excited—ecstatic—to see what the future holds and where her journey might take her.

Watch out for Kahren!

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When Dina Ayada emerged on the musical scene, it was with a freestyle on TikTok that went viral and became her breakout single, "Miles Away". This, including "Popular" and "Games", is one of the few tracks that have gained significant popularity on the platform. The young Belgian singer started making music with her brother by way of creative expression before she started sharing some of her stuff on TikTok, which subsequently took off as audiences from all over came to discover her sound, which is a blend of various genres from hyper-pop to hip-hop, to R&B with a whole lot of energy that carries through her music.

Born and raised in Belgium with North African heritage, Dina has something to say with her music, and she is letting her authenticity shine through in everything she offers. The past few years of her career have seen her release 2023's SUPERSTAR! and 2024's The Script, her two EPs that have introduced her artistry to the world in a way that feels new and refreshing. Now gearing up for the release of her album, she is elevating and stepping up in every way possible.

As we speak with Dina, we touch on everything from her career to embracing her North African Heritage, the upcoming album, what it means to embrace one's truth, and more.

First, how was your first introduction to music as something you had an interest in?

Music has always been a part of my life. My dad would play Arabic music around the house, and I'd be singing along before I even fully understood the lyrics. Growing up, I was obsessed with MTV, watching videos from artists like Tupac, Aaliyah, DMX, Lauryn Hill. Eventually, I realised that music became the way I processed things. After school, if I were stressed, I'd write lyrics or do karaoke. I wasn't great at first, but it was my way of expressing myself, and it's how I grew into who I am now.

How did you discover the type of artist you wanted to be?

I started figuring out the kind of artist I wanted to be about two years ago, right before everything took off. I built a team around me, including my creative director, my manager, and, at the time, a producer I used to work with. My creative director told me, "Before we start putting stuff out, we need to build your whole image first." So we sat down and thought about it: What do I want to represent? What do I stand for? And that's when I realised I had to bring my culture into it - the things I value, my faith, my family, and my relationships.

From there, I started posting on TikTok, and things just started blowing up. As I continued to release music, I gained a deeper understanding of myself and life. It reached a point where I wasn't just making music; I was telling my story, opening up about my family, friends, faith, and everything that makes me who I am.

When it comes to expressing your emotions and yourself the way you do in your music, were you always open to doing that, or was there ever a bit of hesitancy about how much you shared?

My culture influences everything I do, from the way I carry myself to the way I create music. I've always been mindful of representing my roots with respect, and that's reflected in the way I approach my songs. Even now, as I create more mature music, I remain intentional about how I express myself. I want to show where I come from, whether that's through the visuals, the energy, or the stories I tell. It's all part of who I am.

When I was younger, I had difficulties expressing my emotions, but as I've grown and learned from my mistakes, I've become more open to expressing myself in my songs. 

You mentioned that you grew up in Belgium and that your heritage is Moroccan. How does that cultural background influence your art and creativity?

The biggest difference is definitely in the sound and the storytelling. During the process of releasing my music, I was still figuring things out. However, with this debut album I'm working on, I've stepped into who I am as an artist. I've been working closely with Bugz Ronin and my whole team; we built this together, and the production is on a whole different level. We're blending different sounds that've inspired me throughout my life. For example, I've always been fascinated by American hip-hop culture, and I like to blend that with new sounds. Growing up in Antwerp helped me develop an affinity for fashion. Fashion is an integral part of my career, and I enjoy blending fashion and music. 

This time, I'm telling my story, not just making songs to vibe to, but speaking on what I've been through. Previously, I made music from the perspective of a teenager, but now I'm grown, and this album reflects that. It's a new chapter: the production, the lyrics, the visuals - everything's levelled up. This isn't just music, it's art.

Putting out the EP, what was the experience of putting the project out versus when the project was out?

There was time pressure putting the EP together. It was right before I went on tour with Gunna, and we wanted something I could present on stage. The songs were based on what I was going through during that time: heartbreak, my relationship with God, family, and just real life. After it dropped, many more people discovered me, and I'm proud of it. Now, with the album, I'm going deeper; the sound is more mature, and there's more storytelling. However, that EP was an important step for me.

Has that change and mindset in how you approach the album been something you consciously considered when making it, or did it develop naturally from your artistic journey following the EP?

The change and mindset came together very naturally. I always knew everything was God's plan, so I followed. After last year's tour, I took some time to reset and figure out the direction I wanted to take with the album. This year, I've been spending a lot of time in the studio, learning and growing alongside some incredible and inspiring people. That focus is why I've been more offline on social media. It's all about creating something meaningful that people will connect with. It wasn't forced; it was the natural next step in my journey.

You went on tour last year supporting Gunna. How was that experience for you?

It was my first time touring in the U.S., and I'm grateful for the new audience that discovered my music. The vibe was amazing, the energy was positive overall, and it felt like a family, it felt like home. 

Gunna and I clicked on that tour, and since then, we've stayed in touch and continued to build our relationship. Spending time together, especially in the studio, has been a massive part of my growth as an artist. I was impressed by his energy, his performance, and how much he loves fashion too; I feel like we have so much in common. He's so grounded and humble, and he's exactly the artist I wanna become. For me, he became a mentor, and I'm thankful for his presence and advice. 

What does that look like for you when you're not making art, when you're not, when you're not trying to, or when you're not plugged in? 

I focus on resting and recharging. I have meaningful conversations with my parents and team, and they understand when I need to step back and take time for myself. I also journal to express how I'm feeling, both mentally and physically. Working out has become a big part of my routine because it helps me feel better overall. I find small moments to reflect and plan for what's next, and when I can, I relax and meditate to keep my mind calm and clear.

You've had a hectic last couple of years with everything you've been doing. When you think back on everything that happened then, what does that experience feel like?

Looking back, it still feels surreal how quickly things have moved, especially when I started at 18. I'm not where I want to be yet, but I'm really happy with the progress. There's pressure for sure, but having a solid team and my family sticking by my side and believing in me has made all the difference. I've met some amazing people and played festivals I used to only dream about, like Rolling Loud overseas, which I've done twice now. This next album is something that I know will change my life, and I can't wait to share my story with the world. It's been a lot of hard work, ups and downs, but I'm grateful for every moment and excited for what's next.

When you think about where you are and the space you are in, what are you most looking forward to in the next chapter of your career?

What I'm most looking forward to in the next chapter is fully stepping into the artist and person I'm becoming, sharing deeper parts of my story, connecting with more people around the world and growing in a way that feels true to me. I want to reach new places, both literally and creatively and build something lasting that reflects my values and roots. It's about evolving with purpose, staying grounded in my heritage and faith and using my music to inspire and uplift others. This next chapter feels like the moment where everything aligns and I'm ready to embrace it fully. I would love to collaborate with big fashion brands I love, being able to go on tour and perform in front of my community. The idea of being able to perform the songs I've been working on for a whole year is something I'm very excited about, and hopefully, people will connect with my art. I can't wait to show the world what I'm capable of. This is just the beginning. 

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Styling Credits (In order of Images)

Cover Look

Top: Mowalola SS24

Bottoms: Mowalola SS24

Glasses: Hot Future SS24 Jewellery: Annabel B

Shoes: Timberlands

Look 1

Shirt/ Hat: Charles Jeffery LOVERBOY AW24

Jewellery: Annabel B

Look 2

Blazer: Lanvin SS24

Shirt: Lanvin SS24

Skort: Lanvin SS24

Shoes: Kurt Geiger London

Jewellery: Annabel B

Look 3 & 6

Jacket: Namilia AW24

Look 4

Jacket: Namilia AW24

Look 5

Trousers: Y/Project SS24

Belt: BB Simon

Vest: COS

Glasses: Hot Future SS24

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When it comes to a movement that took over the internet as Covid19 emerged and people were trapped in their houses, ALTÉ comfortably sits on the crown of that life-changing era. Unapologetically coming from the region of Nigeria, it is a culture to reckon with and still prevails on the playlists of many music listeners today. At its peak, it ranked amongst the leading African genres such as Afrobeats, Afroswing, Amapiano and more- nodded for being the odd little brother of the bunch with a rebellious flare. In 2025, ALTÉ may have lost some of its momentum; however, as new voices rise and its influence extends across continents, Deeds has someone in mind you need to watch for and who will surely be a face of the new skool kids soon.

To best explain what ALTÉ is, I believe it is what you make it. No seriously, just by being yourself, boundless of expression and not caring what others think is perhaps the most accurate definition of ALTÉ as we know it today. The ALTÉ kid isn’t afraid to do things out of the norm, in fact, it is celebrated for it. Also, it understands that rules are meant to be broken. At its center, there is the internet and it fully values the undeniably force behind this. Whether it is in music, fashion or simply just an aura, the ALTÉ kid doesn’t fall short of making its mark known. Therefore, it should come as no surprise that 00ab, a East Londoner of Yoruba descent, was the first emerging act to pop in mind when it comes to someone who follows a similar formula.

That is to say, when we actually sat down with Abolaji Oshun, the young lad revealed that he wouldn’t consider himself an ALTÉ artist as he is not in direct communication with the likes of Cruel Santino, Mowalola, Odunsi the Engine and such. Maybe that is the thing with sounds without borders, the risk is anyone and anything can be categorized as part of this community, if not called out. When asked how he would best describe his sound, 00ab shared; “I like to explore and experiment with my music. I always like to be playful and thoughtful at the same time.” Just like any other kid in this day and age, Oshun got his first shot in the limelight through modelling. If it wasn’t already obvious, the aura is here and he manages to encapsulate viewers with his presence alone. Shortly after, this was followed by 00ab freestyling with friends. Even in the Lo-Fi and Boombap-sounding first tracks of the lad, we can hear him playing around with the thought of crossing a bridge, in fusion of Afrohouse, Amapiano and anything his heart may desire.

Similar to the rise of ALTÉ, Oshun chose to transform his boredom and Uni days into a creative outlet, bending genres as he sees fit. However, when speaking of his music inspiration and what he would listen to in the early 2019, 00ab makes mention of A2, Cruel Santino, Skepta, Bryson Tiller and Frank Ocean. In a space of intangible access, collaborations play a key role in the evolution and maintenance of a genre still in development. Adam or AR888, a persistent beatmaker, producer and collaborator of 00abs. “I met Adam in 2021 and we just formed a friendship.” He added; “I can’t stress enough how important Adam is.” From tracks like `Geeked!’, ‘Senses!’ to ‘Took My Heart’, their collision is just immaculate and proves that as long as these multifaceted distinctive artists work with one another, the movement will only continue to grow.

00ab makes reference to drawing inspiration from ALTÉ, although not classifying himself as a member. Regardless, we believe 00ab would make a great candidate and future collaborator of this growing African community. From just a few listens, we can draw similarities and would understand why anyone would mistake him for one of the ALTÉ kids blazing our ears with pure uniqueness. We can’t wait to hear ‘ab, we wanna party!’ when it is set to release very soon.

At just nine tracks, ”with all due respect” is lean and intentional. The opener “Bite Me,” produced by fellow butch lesbian Alma Bergman Byström, sets the tone with velvet defiance and restraint as a spoken-word flex that feels like walking into a smoky room with someone already mid-conversation. The track sets the tone to be sultry, observational, emotionally fluent  and never looks back. 

Sound-wise, it’s lush and layered. Gospel harmonies, jazzy keys, stripped-down 808s all moving with a kind of slow urgency. “fxckin” is sensual but never over-indulgent; “talk you through it” (featuring FLO) balances vocal intimacy with a beat that feels like late-night London. And then there’s “worst behaviour,” a standout with Kehlani that’s cheeky, minimalist, and undeniably a track that could loop for hours and still sound effortless.

What makes with all due respect so compelling is kwn’s control. Her voice glides across these songs with a nonchalance that belies precision. One moment, she’s crooning in a near-whisper. The next, she’s flipping into a falsetto. Nothing is accidental. 

Lyrically, kwn stays close to home: romantic missteps, emotional boundaries, the strange politics of honesty. “don’t waste your time waiting for me,” she sings on the closer “war to be over,” “like waiting for this war to be over.” It’s a devastating final note with wider unrest. Her writing captures both the micro and macro: personal heartbreak wrapped in social fatigue.

This isn’t an album that’s going to shout for its place in the R&B canon. But it will be remembered maybe not immediately by everyone, but deeply by those who need it. In an industry often built on spectacle, kwn is playing the long game. With all due respect she’s just getting started.

Kwn’s latest album, With All Due Respect, arrives in the thick of Pride Month, and it couldn’t feel more right. It’s a body of work that sings from the chest of a queer Black person not coded, not metaphorical, but in full clarity. The project moves like only a queer person loving women can move: intentional, tender, self-assured, and at times, beautifully unbothered.

Rooted in her Nigerian-Irish heritage and East London upbringing, Kwn’s sound is difficult to pin down and that’s the point. She builds a world that blends R&B, jazz-soul, UK garage, and the warmer pulse of Afrobeats. Nostalgia lives here, but so does the future. Tracks like “Do What I Say” and the “Worst Behavior” remix with Kehlani prove that Kwn is chiseling her own lane.

Much of her musical DNA is shaped by her father, a DJ who introduced her to a wide spectrum of sounds. That diverse listening experience bleeds into her storytelling, drawing from romantic and platonic relationships to create something both deeply personal and universally felt. 

In a recent conversation with Nyla Symone, Kwn said “I don’t ever force it. I feel like if it comes, it comes. If it don’t? Imma just shut the laptop because I don’t like forcing my brain to do stuff and putting pressure on myself.” That intuitive approach is felt throughout With All Due Respect. It’s effortless but refined. Tracks like “Clothes Off” and “Too Many Women” hold the sultry cadence of R&B classics, yet shimmer with experimental flourishes that keep the album fresh and full of replay value.

The Kehlani remix undoubtedly opened new doors, but Kwn’s real strength lies in her ability to hold her own. Her voice carries the weight of someone who knows herself and we’re just catching up.

Her sound is a statement piece. We’d love to see her build more in this sonic world: more features with artists like FLO, more production that honors the jazz-R&B-future-fusion that only she seems able to command right now.

Her debut EP “episode wn” introduced her as an introspective talent with smoky vocals and sharp penmanship. But this new chapter is a record that holds your gaze without raising its voice.

Kahren’s latest release, “Qualify,” is a melodic anthem geared towards women's empowerment, and we can’t get enough of it. “Qualify” is an Afrobeat song that seamlessly blends choir traditions with pulsating beats. The emphatic bass sounds, soft interludes, and mellow transitions make the song particularly distinctive. It maintains an upbeat tempo, then cleverly transitions to a smooth, mellow chorus, and that subtle contrast between the song and its chorus leaves you longing for more.

The song is Kahren’s sonic commentary on relationship dynamics and an emphatic claim for women not to settle. Lyrics like “You’re the one I could desire, but baby, only if you qualify” and “Cause you know you gotta pass that test, that’s the only way you qualify” accentuate Kahren’s message about reforming relationship dynamics. “It’s about setting the bar and never lowering it.” Therefore, “Qualify” is a message to women to know what they want, to set a standard, a benchmark, and not settle for less. It is a message of empowerment for “every woman who knows her worth,” she narrates. Essentially, the song extends beyond its sound value, becoming a focal point for women. The internalisation of the lyrics gives the song depth, an additional layer that increases its replay value and its general sense of appeal. There’s also that sense of balance. The beats are not so overbearing that they mask lyrical perception; at the same time, the lyrics are curated carefully to match the song’s   So, these aspects of the song are matched and intersect perfectly.

“Qualify” is a testament to her vocal range and her flexibility to adapt to different sound terrains. Kahren’s discography cannot be confined to a single genre. Her single “Remember” is alternative, followed by her EP “I Think I Know Her” (2024), which was Afrobeats, and “Sativa” (2024), which was Afro-soul. With such a diverse discography, Kahren retains a consistent ability to make music we just can’t get enough of, an emphatic chant exemplary of consistency and creativity.

There’s reason to believe the best of “Qualify” is yet to come. Prior to the song’s release, Kahren made several teases, all pointing to a potential music video. If the project is released, it would be interesting to see just how well the song is interpreted through visuals.

“Qualify” is a confident, unequivocal statement of preference and a no-nonsense I-know-what-I-want rhetoric. By choosing to embed profound meaning into her lyrics, she revitalises and strengthens the argument of Afrobeat’s lyrical density, shifting the focus from just high-tempo sounds and drums, which it has consistently been limited to.  

Kahren is steadily on the path to being one of Nigeria’s finest acts. She is building a brand, a legacy built on the bastion of consistency and commitment. Her powerful voice and diverse vocal range set her apart from others and have greatly contributed to her growing fan base and appeal. The prospects are high, and we are all excited to see what the future has for Kahren.

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In the landscape of modern dancehall, few names ignite as much conversation, speculation, and cultural shift as Alkaline. Hailing from Kingston, Jamaica, he took the industry by storm. With an unrelenting voice, a craft fully curated  image, and an instinct for disruption, Alkaline has built a career not only on music, but on mystique. He emerged in the early 2010s like a glitch in the system: black contacts, enigmatic lyrics, and a refusal to explain himself. That strategy or perhaps defiance sparked global curiosity, turning him into one of the most polarizing and magnetic figures the genre has seen in decades.

But to reduce him to shock value would miss the point entirely. Beneath the headlines is an artist who understands power, both in performance and perception. A former media and communication student, Alkaline has always been playing chess while others play checkers crafting a narrative that’s as calculated as it is raw. From his debut album New Level Unlocked to his independent powerhouse movement New Rules, he's shaped an empire.

Now, years into a career that’s constantly evolving, he sits down to talk which is rare, but intentional. In this exclusive interview, we go beyond the provocative visuals and into the mindset of a man who’s rewriting the rules of what it means to be a global dancehall artist. From Kingston roots to worldwide reach, this is Alkaline: unfiltered, unapologetic, and just getting started.

Let’s take it back to Kingston…What did the soundtrack of your youth sound like? Who were you back then and when did you first feel that pull toward the mic like it was your destiny?

Music has always been a part of my life so the soundtrack of my youth was just good music.  In my high school days is where it all started. 

You studied media and communication before the world knew your name. What was that turning point when music demanded your full attention and what parts of that academic life still show up in your career today?

Just the energy at the time we knew we had something worth building on so we did just that and here we are now! A good education is the foundation to making smarter moves in any field  you know what I mean! 

When you first came on the scene, people couldn’t stop talking about the black contacts, the bold visuals, the mystery. Looking back, what were you really saying with that image and was it more strategy or self-expression

My image is just my image and everything cannot be explained!

New Level Unlocked conquered. Was that moment a personal triumph, or just one stop on a much bigger journey you’d already visualised?

⁠We make music consistently so wouldn’t say it’s a personal triumph but an achievement  that we are grateful for.

When the industry questioned you, you built ‘New Rules’. What sparked the idea to flip criticism into creation and how has it felt to curate a space that reflects your own vision for the culture?

⁠We don’t do boxes and restraints, we just do what feels right for us and the people that support us  and we go from there new rules Toronto and Jamaica it’s gonna be amazing!

From studio sessions to being tapped by Givenchy, your fashion moments speak volumes. How do you see fashion amplifying your story as an artist and is there more of that world in your future?

⁠It’s all about representation, looking good, feeling good and giving the people good music and good experiences all around.

 You’ve quietly supported causes close to home, from medical charities to community uplift. What keeps you grounded and how do you carry your roots with you, even as your platform grows?

Gravity you know? A good system of support, staying true to who we are and consistency.

No one’s path is free of pain. Has loss or hardship shifted the way you make music or the messages you hope your fans walk away with?

⁠A loss is a loss, and we all have to go through it at some point. It hits differently for everyone and we just deal with it how we deal with it.

 So what does global domination look like? You’ve made it clear: the mission is bigger than the Caribbean. What’s next on your vision board, and how are you plotting to take the Alkaline sound worldwide?

The music is already global, we're just continuing to push it forward. Empowering people and creating music people can enjoy no matter where in the world you’re from.

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Styling Credits:

Cover Look

Jumper & Jeans: Bianca Saunders, Shoes: Christian louboutin

Look 2

Hand painted ‘Ecstacy’ Jacket: Exhibit69, T-Shirt by: wealthyboysclub_studio,Ttrousers: Daily Paper

Look 3

Eyewear: Swarovski, T-shirt; Bianca Saunders, Shirt & Trousers: Daily Paper, Shoes: Christian Louboutin

Look 4

Eyewear: Versace, Jacket, Shirt & Trousers: Daily Paper, Shoes: Buffalo Shoes

Look 5

Shirt & Trousers: Bianca Saunders, Shoes: Kurt Geiger

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Over the years, Olamide has earned the title of “voice of the street,” a name that continues to precede him. The legendary Nigerian artist has not only built a solid career for himself but has also played a pivotal role in the rise of several successful acts, including fan favorite Asake. More than a decade into his career, Olamide is still delivering hits. He now returns with his 11th studio album, Olamidé.

As fans everywhere welcome the album, recognizing it as replay worthy but none of which have made their way to apps like TikTok and Instagram, just yet. It is agreeable that Olamide’s concern stands at quality before trends. Featuring the People’s favourites, Olamide’s album had Wizkid, Darkoo, FADI, Seyi Vibez, Popcaan, Dr. Dre, Asake, Dj SPINALL, Daecolm, Boj and Young Jonn. 

Starting off with tunes to ease you from the day before, or perhaps the hour before, from whatever stress there is. Fxrtune’s serves as a welcoming introduction into Olamide’s Olamidé Album. Paving way for the Religious Fans' favorite which takes on Prayer and reflection, Hasibunallah comes in as a self-appreciative sound. 

Speaking of favorites, “99” has already emerged as a fan standout. Its instant impact hooks you from the first listen— the beat and rhythm being so fluid, it feels like you’ve known the song long before its release. But for me, Indika is the heart of the project. It carries the album on its back as I would describe it to be  deeply resonating with a certain and peaceful atmosphere, and specifically memorable. 

Nigerian music has fully embraced the art of sampling, and Olamide makes sure his new album doesn’t miss out. On “Luvaluvah”, he samples Lauryn Hill’s “Can’t Take My Eyes Off You“, layering it with a romantic melody that feels timeless. It’s the perfect song for you and your partner, reminding you that even the smallest gestures of love remain essential, especially in these serious times.

On multifaceted terms, Olamidé remains that guy as the album contains multiple themes, the love of God and romance of your person, self reflection, appreciation, gratitude and hope. Olamide’s sound resonates with the streets ready to take on the party and then lay in bed reminiscing good times.

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There is no denying that J HUS' return to the stage was anything but spectacular. Celebrating 5 years since the release of his second album, Big Conspiracy, fans joined at Royal Albert Hall to celebrate the album's legacy.

Accompanied by The Compozer and the Chineke Orchestra, the album was entirely brought to life, apart from a few songs missing from the setlist. His only guest of the night was his sister, Iceé Tgm, who opened the show with a spoken word on the album. 

With an introduction set by the 32-piece orchestra, Hus entered the stage, met by the excitement and energy of a sold-out Royal Albert Hall to Helicopter before he dominated the stage for the hour he performed. 

This show was a highly anticipated moment for Hus fans, especially after his absence from the UK tour. The atmosphere was electric from the moment he entered the hall, setting the stage for an unforgettable experience. Hus, acknowledging this, thanked his fans and delivered a show that was well worth the wait, a testament to his ability to shine on his stage.

As an album so rich in musicality and instrumentation, set by JAE5's production, the 5th-anniversary show displayed why it is somewhat of a sleeping gem compared to its predecessor, “Common Sense”. The show brought to life by the sounds of The Compozers and the Chineke Orchestra who brought the essence and the vibrancy to life in a different way.

No seat was taken; everybody was on their feet from start to finish. The hour-long set flew by as Hus gave us the hits from the album and the deep cuts. In addition to Iceé tgm, he was also joined by Billz, who kept the energy of the crowd at an optimum high as he, the orchestra, and the Compozers ushered through some of his other hits, which included Common Sense, Bouff Daddy, Friendly, and Dem Boy Paigens, a highlight of the night. 

J HUS' influence on the UK rap scene is undeniable, and the Royal Albert Hall was a testament to his impact. Despite his trials and tribulations, his love and respect from fans and the industry remain unwavering. The night was not just a celebration of Big Conspiracy, but also a tribute to his legacy so far, a moment that was truly inspiring to witness.

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On Saturday night, the 24-year-old superstar brought his HEIS World Tour to the O2 Arena in London, welcoming 20,000 people to his presence. From the opening drop to the final bow, the Benin-born artist delivered a high-octane, performance people described as best known to our generation. 

Rema’s sophomore album HEIS, released in July 2024, introduced a darker, more experimental side to the artist. While his global smash “Calm Down” with Selena Gomez established his pop credentials, HEIS is a different beast; part dreamscape, part confessional, steeped in bold sonic direction.

At the O2, that mood was fully realized. The stage design evoked a dystopian fantasy world, incorporating his Edo background with futuristic textures—think mist, fire bursts, masked dancers, and blood-red lightwork. It has become the staple experience when watching Rema live. 

The crowd roared when J Hus emerged midway through the show, grinning as the two artists traded verses and salutes. Moments later, D’banj appeared, launching the vibe into full throwback mode, while Buju and Darkoo added to the lineup of unannounced guests.

But Rema still managed to outdo himself: at one point, he gifted a fan a Birkin bag live on stage, a moment that instantly went viral across X and TikTok. The gesture, equal parts flex and love note to his audience reinforced what fans already know: Rema loves his babes. 

While the official setlist hasn’t been released, the show leaned heavily into HEIS, with standout performances of ”Baby (Is It a Crime?)”, “MARCH AM”, and ”Bout U”, interspersed with crowd-shaking classics like “Soundgasm,” “Ginger Me,” and, of course, “Calm Down.”

His vocals were sharp, his movement precise, and the energy unrelenting. The O2 may have seen bigger pyrotechnics, but rarely has it seen this kind of cultural authority from a Nigerian act.

This wasn’t Rema’s first time in London, but it might’ve been his most complete. The city showed up dressed in mesh, leather, and sheer fabrics; there were Damson Idris sightings, Mavin Records in full force, and style blogs already calling it “the best-dressed crowd of the summer.”

By the time the Rave Lord exited the stage— shirt off, sweat dripping, grin wide. It was made known that HEIS is a connective experience, and we’re all living in it now.

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Heartbreak, like grief, is unflinching in its tyranny because it forces you to feel the full weight of an absence. Someone who had been a constant fixture in your life, with whom you shared countless moments—good and bad ones, exhilarating and austere ones—someone whose presence swaddled you like a blanket on a baby, is suddenly lost to the void, estranged from you. One moment your futures feel inextricably linked, and the next you’re strangers forced by fate into diverging paths. Heartbreak is cruel! 

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The process of moving on from a heartbreak is similarly cruel and complicated. It’s less a sequenced progression—as is typically depicted in the media—than a convoluted whorl that can often leave you adrift. You could spend months healing and working on yourself (as self-help gurus typically advise), only to happen upon a picture of your ex on social media which unravels your months of hard work. A deluge of old memories floods your brain and soon you’re back writhing in pain and wondering if, at the cost of your dignity, you should maybe text them one last time and see where things might lead. 

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Much of the pleasure of Obongjayar’s Paradise Now derives from its frankness—how it provides a panoramic view of the messy process of getting over a heartbreak. In the album’s opener, It’s Time, a propulsive Alt-Pop song that mostly finds him in an airy falsetto, he paints a visceral picture of heartbreak. Over a beat that is in turns placid and riotous, he describes the depth of his pain with lyrics that could easily serve as a prose poem: “I walk around with my head on a swivel/ It’s hard trusting in anything.” He then proceeds to chastise himself for his self-victimization, “No more wearing my head down/ Hurting myself more than you hurt me.” Somewhat expectedly, by the time we reach the chorus, he’s belting in a mesmerizing head voice about his intent to move on. “I think it’s time I pick up the pieces,” he declares. 

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Despite his soaring message in It’s Time, by the second track he’s back in old patterns, reminiscing about his ex with lyrics that are at once haunted and macabre. “Why did you leave me? You weren’t here/ Blood on my teeth, sand in my hair/ I’m on my way home, but I don’t want to be staring down the barrel of a gun.” It’s graphic, and dangerously visceral, but this verse aptly describes the mind-numbing torture that heartbreak often brings about. By the second verse, he mulls the dichotomy between his outward appearance of normalcy and his embattled internal state. “How to tell them I don’t feel amazing/ How to tell them I’m still fucked up/ Drink myself silly, hope they can’t see me?” He asks.

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Anyone who has trudged through the doldrums of a messy breakup will probably relate to this all too well. After a breakup, one is typically faced with a halo of pressure—both from oneself and from loved ones—to move on, to pick up the pieces. You can’t possibly spend the rest of your life wallowing in self-pity, they often say. But the heart is an obstinate mule, it moves at its pace, on its terms. And so what often happens is that to satisfy external pressures, on the world one pretends to have moved on whilst continuing to battle old demons internally. 

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The intervening tracks mostly find him negotiating the often glossed-over complexities of moving on. But by Instant Animal something radical happens. He seemingly transforms from a wounded animal to a possessed shaman. By way of guttural trills and curt chants, he declares his ascendancy. By Born In This Body, which is two tracks removed from the final track, he attains catharsis. We are suddenly transported to a world of overwhelming tranquility as he delivers a treatise on body positivity and self-acceptance. 

By the final track, Happy Head, it’s obvious that he has made peace with his demons, and that having traipsed through the seven stages of grief, he’s finally on his path to recovery. “Slow down,” he sings, apparently to himself and the rest of us, “You’re burning out/ You’re truly your mother’s child/ Can’t be everything at every time.” After a kaleidoscopic album that often tested the limits between pain and pleasure, he closes the album with a simple charge: Make yourself happy.

Appearing in the centre of the O2, Lil Yachty set the tone as the crowd prepared for Tyler The Creator's arrival. His 45-minute set consisted of opening up mosh pits and energising the crowd in a way that can be described as controlled chaos, where everyone was united in the shared experience of the music. 

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Running through a string of his songs throughout his discography, the crowd was not just with Yatchy but also fully immersed in the energy he was radiating, going vibe for vibe from the start to the end of his set. As an opening act for Tyler, it may seem like a bit of pressure to get the crowd ready; however, this was an easy task for Yatchy, who could deliver on all fronts on the task set for him. 

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His 45-minute set included a mix of his popular and lesser-known songs, showcasing his versatility and range as an artist. Solo Steppin Crete Boy, Pardon Me, Yatch Club, One Night, Drive Me Crazy!, WE SAW THE SUN and A Cold Sunday, to name a few songs, were performed with a unique blend of energy and emotion, leaving the crowd in awe. 

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The energy and attitude of Yatchy toward his fans were not just laced with gratitude, but they were a testament to his appreciation for their support. At the end, he gave thanks to Tyler The Creator as well: “Each and every one of you who chose to come and see me when you could’ve been getting a drink or using the bathroom,” he said before he wrapped up his set. He also shared a word of love and  positivity before parting with the crowd: “When you wake up in the morning, spread love and positivity.” This expression of gratitude and love left the audience feeling appreciated and valued. 

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Ultimately, Lil Yachty achieved his goal of setting the stage and generating energy for Tyler as the crowd was left buzzing and more than ready for the rest of the show

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Kwate is an Afrobeats star from Edo State, Nigeria. Known for his emotionally charged lyrics, gritty comeback story, and magnetic stage presence, Kwate fuses raw street inspiration with spiritual undertones. After surviving a life-altering accident, enduring an 8-year hiatus, and suffering personal losses, he triumphantly returned to the spotlight, recently winning Dynamic Artiste of the Year (2025) at the Rainbow Hall of Fame Awards.

His new single, “Usain Bolt,” is a high-energy, soul-lifting anthem inspired by his personal story of pain, perseverance, and divine speed. The track is already gaining massive traction across streaming platforms and social media, cementing Kwate’s comeback as both powerful and poetic.

After years of intense setbacks including a tragic accident, multiple evictions, relentless job hustles, and even incarceration. Kwate experienced what he calls a divine turnaround. The song symbolizes how quickly life can shift when grace meets preparation. Named after the fastest man on earth, “Usain Bolt” is a powerful metaphor for speed, recovery, and faith in motion.

“I’ll be the next big Afrobeats artist in the Diaspora and the first artist to blow in recent days without stepping into Nigeria and I want to say it’s the Grace of God on me and the team behind me. Shoutout to fame and fortune Gang ” Kwate claims.

Kwate adds, “I think it’s fun to be able to break that stereotype and to be like, no, I’m actually making music all the way from the States and taking over the Nigerian entertainment scene one project at a time.”

He reflects on the digital age of music, “It’s interesting how social media has ended up playing such a big role in the music industry in this day and age.”
While Kwate gives credit to his incredible team, hard work, and dedication to his social media strategy, he is quick to add:

“Don’t get me wrong, I’ve seen a lot of Afrobeats artists spring up from social media, but it should only honor the music, not be the major focus.”

For Kwate, social media should complement the music, not dictate it.

“Sometimes I think people end up trying to find ways to make TikTok-worthy music, or music that will trend on TikTok. And I think sometimes that takes the heart out of the music. It has to start with authenticity. If you can feel like an artist is being honest and true to themselves… I think that’s what we, as human beings, can pick up on, even if you don’t know them personally.”

“Usain Bolt” is out now. Inspired by pain, recovery, and divine speed, it’s a testimony. This is Kwate’s resurrection. He creates music that is not only real, but award-worthy

Mamuda Care Nigeria Limited is proud to announce that celebrated music sensation TENI has officially become the face of Mama Joy Detergent Powder, Nigeria’s fastest-rising symbol of care, pride, and performance in the household care space.

The signing ceremony took place at the state-of-the-art Mamuda Care factory in Kano, where TENI was personally welcomed and given a full tour of the production facility. Moved by the professionalism, scale, and quality she witnessed firsthand, TENI expressed how impressed she was, not just with the factory’s global-standard operations, but with the product itself. That moment, she said, made her decision clear: “Mama Joy is the real deal, and I want to be part of this story.”

More than a campaign, this partnership is a powerful statement, a tribute to Nigerian resilience, to the women and families who hustle every day, and to those who deserve a product that truly understands their reality. TENI’s story is every Nigerian’s story: bold, determined, and unapologetically real. Her journey from local talent to national treasure mirrors the rise of Mama Joy, a proudly Nigerian brand built on trust, purpose, and performance.

Mama Joy is a badge of confidence for millions of homes. It represents the strength of the Nigerian woman, the pride of clean clothes earned through hard work, and the power of a brand made for, and by, Nigerians. In a crowded market, Mama Joy stands tall,  through innovation, integrity, and results that speak for themselves.

With TENI as the face of Mama Joy, Mamuda Care is not just launching a campaign, we are uniting with every Nigerian household that chooses quality, authenticity, and pride. Together, we will inspire Nigerians to rise, shine, and take pride in their everyday wins.

The partnership will roll out across all major platforms, from TV to radio, from billboards to digital, and will be backed by meaningful community impact initiatives aimed at empowering women, uplifting homes, and celebrating the spirit of Nigeria.

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An introspection into the brand that uncovers the truths behind its unique presence and vibrant flair for intimate connections and memorable moments.

Afro Sambo is essentially what the name represents: the intricate blend of different cultures to create unparalleled euphonic realisations. It materialises at the intersection of West African and Brazilian sounds, emphasising the beauty of such interplay. Essentially, it propagates the virtues of togetherness and how seemingly different components can form a cohesive, vibrant whole. Afro Samba is more than just the melange of vibrant cultural sonic elements; it is “joy. It’s energy, soul, and a deep cultural connection.” As a creative space, it focuses on creating a thriving communal ecosystem which emphasises the beauty and power of music.

Afro Samba is deeply rooted in heritage and carries emphatic cultural markers. “It’s inspired by my annual trips to Brazil— samba feels like a spiritual reset. Whether you go with friends  or walk in solo, you leave feeling lifted, like you’ve been a part of something communal and beautiful.” As a community, it focuses on personal feelings and creating powerful networks. “We focus on intimacy and intention. Afro Samba isn’t about spectacle — it’s about vibe, feeling, and community. The blend of live music, DJs, and diasporic sounds from West Africa to Brazil creates a unique energy. It’s rooted in heritage  but open and playful — that’s what defines us.” Their passion to network and connect has brought something fresh but familiar: a roda de samba that reflects their brand values and communal ethos. 

Every event is layered with the upbeat style tempo of Afrobeats to the rhythmic depth of Brazilian music. Afro Samba’s creative excellence exists in a spectrum but excels considerably as both a community and a creative space. It endorses musicians, artists, DJs, and anyone whose creative values align with the sonic principles of the Afro Samba focus. Through carefully tailored events, energetic live performances, and a vibrant digital presence. These experiences bring about “connection, first and foremost, wanting people to walk away feeling like they were part of something.”

Afro Samba brings live, nostalgic sensations to audiences who are no longer within their musical roots. These sessions create “a warm, electric space where people feel free,” Afro Samba tells us. “A space for discovery and nostalgia, where you might hear a track that reminds you of home or find a new sound that moves you.”

For the third month in a row, Spotify has deducted a significant amount of streams from tracks across genres. Artists like Kendrick Lamar, Doechi, Joeboy, and Teni, to name a few, have been caught in this purge. Davido's recently released fifth album 5ive, however, took a massive hit, losing some 18 million streams. There are two main reasons why streaming platforms deduct streams, especially large amounts. The first reason is that the artist in question artificially boosted the numbers using bots that artificially mimic human behavior. This is referred to as “farming” in internet-speak, which is a hilarious way to characterize the clandestine action of artificially inflating one’s streaming numbers, given that the origin of the word traces to virtues like hard work and patience. The second reason is that the artist in question violated the platform's terms of service through infractions such as paying for playlist placements. Either way, a sizable deduction is indicative of streaming numbers manipulation. 

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We could throw stones all we want, hurl invectives, reprove these artists for setting a negative precedent, but that would all be performative because we have known for a long time, albeit with marginal evidence, that the global music industry is steeped in fraudulent streaming practices. Davido, being one of the hardest hit, has become the object of public indignation, just as Wizkid, his soulbrother/nemesis (depending on what day of the week it is), became the subject of intense trolling over his slew of cancelled shows. He is, however, hardly alone in this, and for a while now, streaming charts have been far removed from reality, so much that they have become a little more than symbolic. 

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There’s a case to be made that a lot of the time, record labels are behind this inflation of streaming numbers. Proponents of this theory argue that these labels do this to skew public perception in favor of their artists. This is the position that Drake has maintained in his lawsuit against Universal Music Group, which Drake claims to have artificially inflated Kendrick Lamar’s streaming numbers, helping him gain the upper hand in their beef last year. The argument that labels are mostly to blame hardly exonerates fans, after all, the only reason this practice continues to flourish is that music fans of this day have an unhealthy obsession with numbers and records.

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We all share a part of the blame. This is a monster of our creation, a beast we fed and tended to which has now escaped our control. Remember that Friday in 2022, when Burnaboy dropped Last Last, Davido dropped Stand Strong, and Asake dropped Palazzo? Remember how we styled that release day as something of a battle royale and settled on Apple Music Top 100 performance as the defining metric. Not quality. Not impact over time. Not cultural resonance. Instead, we settled on a blanket metric that could satiate our need for instant gratification, our desire for speed over the kind of certitude that can only come with time. Remember how Davido and his fans celebrated being the first to top Apple Music Nigeria chart—indeed, Davido posted a screenshot of Stand Strong topping the chart on his Instagram story—even though in the long run Stand Strong would not have the enduring impact of the other songs. Asake and DJ Spinnal’s Palazzo continues to be a club staple, while BurnaBoy’s Last Last has elevated to the rarified pantheon of the most successful Afrobeats songs. 

What can we take from all of this, if anything? At the risk of sounding too optimistic, I would say that the middling state of streaming charts across the world, which is in no small part due to the rise of streaming fraud, offers us an opportunity to divorce musical brilliance from commercial performance. If the authenticity of numbers and milestones on streaming services can no longer be taken at face value, then perhaps we have no reason to invoke streaming numbers when appraising the quality of a musical number or project. 

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Admittedly, this is easier said than done. Even the most number-obsessed music enthusiasts know, on some level, that the quality of a piece of music is independent of its commercial performance. We, however, live in a hyper-capitalist society—and I use the word “capitalist” here in the cultural sense—that forces us to consider nearly everything through the lens of quantifiable metrics. Even music and the arts, which by definition are ineffable, in that they, at least ideally, defy simplistic quantifications, have not been spared from our generation’s obsession with numbers. In music conversations on X, casual fans trot out streaming numbers and chart records, statistics in general, with a precision and forcefulness that makes one wonder if we’ve not all unwittingly become music execs. This focus on vanity metrics has stripped music conversations on social media of their lighthearted air, instead reducing them to a little more than a stilted exchange of statistics. The silver lining in all of this is that perhaps this situation might jolt us out of our numbers obsession and lull us back into simpler times when first week streams and monthly listener count didn’t factor into our appreciation for music. 

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Ever since 2020, a new era in music has been born. And this wave of artists are becoming more community-serving, niches and bolder than ever, taking their regional sound to the global stage. Whereas in the past, labels and reachability was limited, now you can have an act like YT easily performing at venues in Canada, for example. Without going through the hurdle of finding a way to market yourself somewhere else as much as your own block or city with its organic listeners.

This also comes at the cost of consumers feeling more experimental with their music taste. Sticking to one genre and completely devoting yourself to that bubble is talk of yesterday. Now you can have a kid from Sweden bumping into an Italian trap due to Tik Tok and the force behind algorithms. However when did that shift start? And what does this mean for the summer of 2025? To best answer these questions, we need to go back to the past starting in 2022, at the peak of the rise of Afrobeats…

How?

What many fail to understand is when Afrobeats was arguably at its peak in 2022, it was due to the decade-long determination by its now OGs, namely Wizkid, Davido and we can not forget Ghanaian singer Fuse ODG as well. For years, these OGs, aside from their home countries, were targeting the US and UK music market, catering to its strong diasporic communities, consequently building a foundation for new acts such as Rema’s “Rave & Roses” and Asake’s “Mr. Money with the Vibe” to walk on. Although at the time, they might have been second to Dancehall, this persistent move of doing concerts and filming music videos abroad was pivotal to introducing the sound to the world. As their consistency grew, so did the diasporic communities’ interest branching out all the way to Spain. All of a sudden, Afrobeats (quickly followed by Amapiano in South Africa) completely took over in 2022!

In 2023; however, you could argue that we saw a rise in UK alternative music reaching new heights as well. With solid projects such as Ragz Originale’s “BARE SUGAR”, Jim Legxacy’s “homeless n*gga pop music” and many more, for the first time since UK Drill, the region had something fresh to look up for. Whereas Afrobeats rise can be pinned down to the determination of OGs, the UK scene is far more complex than that. You see, Ragz or Odeal are not newcomers, which can only mean through the combination of both alternative artists and emerging ones, did they manage to take over the year 2023. While Lancey Foux was grinding in his lane for years now, that also gave the push to similar artistry like Fimiguerrero’s “Immigrant” and Len’s “LEHGOLAND” to gain some traction. If we could pinpoint the beginning of UK buzz, then I think the marketing strategies of mainstream acts such as pop star Central Cee and clothing line Corteiz really sparked an interest across the globe, and they just happened to drop at the right time at the right place. This goes without saying, although not from the same generation, that Skepta and Dave throughout the years, definitely opened the conversation for UK acts to be taken seriously abroad.

Now 2024 took an interesting turn and perhaps surprised everyone in the process; this is when the French music scene stepped up and drew our attention. Their takeover can be still disputed; however, we hadn’t viewed anything like Tiakola, Merveille and arguably the project of the year: “HÉRITAGE” by Tayc and Dadju, setting up a tone in which the rest had to follow. Some may argue that their outreach was selective, mostly attracting French-speaking consumers abroad. On the other hand, if you saw Tiakola and Jim in the studio together, and shortly after, the same French star performing in the United States, everything can be traced back to that particular year. Coming from the overall push of Afrobeats music, collaborations like “IFA” between Oxlade and Fally Ipupa, really set it straight that this is a wave here to stay. On Davido’s recent project “5ive,” one of his top charting songs “Lover Boy” with Tayc and Dadju, really solidified the impact of French afro music.

Who’s Next?

We are only 5 months deep but, the question still begs; which region will be the front runner of summer 2025? With popular projects coming out in North America like Drake and PARTYNEXTDOOR’s “Some Sexy Songs 4 U” and Playboi Carti’s “MUSIC,” they are making the most noise right now. However, some might say the never-ending beef between Drake and Kendrick, and controversies around Carti are overshadowing the music. As a result, they receive more screen time over scrutiny than the music itself. We have the highly-anticipated projects that dropped this year such as Chy Cartier’s “NO BRING INS”, which she is slowly but surely making her mark, YT’s “OI!” and yet to release Jim Legxacy’s “British Black Music” we have confirmed to hear from soon. On the other hand, just like Afrobeats was trying to break through in the US market too early, first by Burna Boy infamous comments on Afrobeats and now Asake, similar to French rapper BU$HI, the UK underground wave has quickly followed suit and risks alienating their core audience as a result.Perhaps a region we can expect to hear more from this year are Germans, namely emerging act Nana Le Vrai and established artist Serious Klein. With a new co-sign and Nana making it onto a UK magazine, there is potential here and it is only a question of time for other German artists to gain momentum. There is an Indian rapper named Hanumankind who had a feature recently with A$AP Rocky (Not to forget “Don’t Be Dumb” is hopefully coming soon!) on “Big Dawgs” and surely opened music listeners to a whole new world. That is to say, this summer 2025 proves to be a promising season and it is only a question of time until someone or somewhere will have the world on a chokehold next.

The release of 'TEETHSUCKER (YEA3x)', the first single of LETHAL, was a highly anticipated moment for Rico Nasty's fans. It signalled her return with a trap-rock song that brought back her unique vibe and energy, which had been eagerly awaited since 2022's Las Ruinas. Despite a series of singles in the interim, TEETHSUCKER (YEA3x) marked a new chapter for Rico, leading towards her third album, LETHAL. The 15-track album introduces a slightly more refined sound, leaning towards a rock tone, and once again showcases a different side of her artistry. 

'WHO WANT IT' sets the tone for what is to be expected from LETHAL. The energetic and hard-hitting track welcomes listeners into the project, followed by the singles' TEETHSUCKER (YEA3x)' and 'ON THE LOW'. You'll notice how the songs transition and flow into each other as you listen, creating a seamless listening experience. Despite the different sonic tones on the album, there is a strong sense of cohesion that runs from the beginning to the end, uniting the tracks into a single, continuous narrative. 

This album marked an era change for Rico, who recently signed a new record deal with rock label Fueled By Ramen. Although her rock influence has never been absent from her music, it feels much louder and more present on LETHAL than in her previous material. That being said, there are still moments that allow for different sides of Rico to come through, leaning into her hyperpop vibe 'ON The LOW', not to mention 'PINK', which brings that Sugar Trap 2 vibe. 'SON OF A GUN' and 'SMOKE BREAK' are the rock-heavy ones on the album. 'CRASH' feels reminiscent of a 00s Blink-182-esque pop-punk inspired sound. 'YOU COULD NEVER' and album closer 'SMILE' bring a gentler and softer tone to the album.

Overall, Rico's album continues to celebrate her artistry. She has described it as "my most cohesive (and authentic) body of work to date." The album shows how Rico continues not to play it safe and continuously experiments with her sound and musical styles, whatever the outcome. 

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Once I heard Rema was going touch down in Toronto for the HEIS Tour, I knew I had to be there. May 11th couldn’t come fast enough and clearly the other fans agreed. Last Sunday, Scotiabank Arena was filled with baddies clad in leather and burgundy. This must be why the streets have been calling this tour the “African Fine Sh*t convention”. 

Rema has had a banner year taking the world by storm with his dynamic yet original take on Afrobeats in new album, HEIS. The tour of the same name has also made a lot of headlines with recent one being his Madison Square Garden show where he brought out three statues to represent the Big 3 of Afrobeats: Davido, Burna Boy and Wizkid. The latter recently cancelled a large section of his North American tour. This came as no surprise to some as this isn’t the first time Wiz has cancelled. Needless to say, fans were happy Rema made good on his tour schedule. 

Vibes were high as DJs Dynamite and Jumbee (Rema’s official DJ) played a mix of old and new Nigerian classics. Openers Uzuazo and Azanti also did their best to jazz up the crowd with the modest time they were allotted. After screaming “Rema, we want to party!” For the umpteenth time, it was finally time for Rema to seize the stage and seize it, he did! He emerged with a triumphant scream, from the bottom of the stage, smoke all around him and wielding a silver sword. “MARCH AM” made for a rousing opener, erupting the crowd. After thanking us profusely for coming out to see him, he said, “This is not a Rema concert, it’s a fucking Rema party!”

One thing about Rema: he wholeheartedly loves women. It’s not only clear in songs like “Favourite Girl” which the crowd loved of course, it’s also clear in the arrangement of this show. From the graceful dancers that punctuated his performance to the cheeky “Kiss Cam” break to the way he hyped up the women in the crowd the whole time, he was relentless. “Fine girls, I am here to give you what you want,” he said before launching into an exciting performance of  “Soweto”.

There were many interludes during the show, for song changes, costume changes and even surprise guests. Popular Toronto artists, Chxrry and Sadboi came on to give us short performances of their latest hits. To be honest, the set change felt a bit sudden especially because it came right after an energetic performance of “Calm Down” but the crowd didn’t leave our guests hanging and sang along.

Llona’s “Homeless” story didn’t end when the album dropped, it only began to take shape live, on stages across Nigeria. What started as a single headline concert in Lagos has since become a full‑blown national celebration, bringing raw emotion, unfiltered energy, and the promise of home to every corner of the map.

The Homeless Live Experience
On December 12, 2024, Terra Kulture in Victoria Island bore witness to Llona’s first headline show. Dubbed “The Homeless Live Experience,” the sold‑out night saw fans clutching “Soldier” VIP passes, clamoring for backstage access and a chance to meet the man whose vulnerability had become their anthem. When Llona stepped into the haze of spotlights, his voice carried not just lyrics but the weight of shared survival.

Fast‑forward to February 21, 2025, when Llona announced the Homeless Nationwide Tour, a daring itinerary spanning 21 cities, from Abuja and Lagos to Enugu, Ife, and beyond. Yet it was the bold launch on February 22, 2025 that made headlines: Llona performed in Zaria where, the crowd knew every syllable, chanting back lines in a show of Northern devotion. Exactly a month later, on March 22 in Benin City, an equally sold‑out venue transformed into an impromptu Afropop festival, the energy undimmed by the frantic travel between cities.

Late March brought a test in Kano, where initial venue snags had social media buzzing with doubts. Yet Llona arrived undeterred, turning logistical headaches into a triumphant set, “Another Day” and “Comforter” soaring above any lingering questions of whether Kano would welcome its prodigal son back home.

 – Owerri (April 19): A gritty, sweat‑soaked performance that local promoters hailed as the rebirth of grassroots touring

In Makurdi on May 15, the Newcastle Lounge morphed into a nightclub‑meets‑concert haven, Llona commanding the dance floor as much as the stage. Then on May 30 at Ibadan’s Glow Dome, the chorus of “Homeless” echoed so powerfully that the walls themselves seemed to pulse with belonging.

Even as summer approaches, the tour shows no sign of slowing. On June 7, 2025, Llona takes over the Muhammadu Buhari Civic Center in Lokoja, with tickets already selling out days in advance. After Lokoja, he’ll push deeper into Kogi State, revisit key hotspots, and sometime this summer, bring the tour full circle with a grand homecoming event back in Lagos.

Each stop on the Homeless Nationwide Tour is more than a date on the calendar; it’s a chapter in Llona’s ongoing narrative of resilience, of transforming every struggle into a space where fans can feel seen. As he moves from city to city, he’s not just performing songs, he’s building a “house without walls,” where true belonging is found in shared moments, shared music, and the knowledge that, no matter where you start, you can always find your way home.

When headlines branded him "canceled," Zinoleesky answered with the biggest comeback of the year.In September 2023, Mohbad’s death ignited the #Justice4Mohbad movement, and several media platforms pulled every Marlian Music record from their playlists. Zinoleesky, a rising star on the label, found himself caught in the fallout without a formal charge or hearing, effectively leading to silencing Zinoleesky’s mainstream exposure despite his rising profile.

Despite radio bans and tour cancellations in the wake of the controversies around his record label recently, his debut album ‘Gen Z’ has exploded across streaming platforms, proving that true fan loyalty can’t be silenced. The swift banning of Zinolessky’s music and tour cancellations reflect industry sensitivity to public sentiment, but also highlight a lack of due process, as he has not been formally charged. This raises questions about fairness and the role of social media in amplifying cancel culture.

Where mainstream channels went quiet, digital streams roared. Lead singles "Element," "Fuji Garbage" and "Abanikanda" have collectively surpassed 200 million plays, all while underground listening parties and pop-up Lagos street concerts sold out in minutes. The message was clear: "Gen Z" isn't just an album title, it's a movement powered by a generation that refuses to be gatekept.

On tracks like "Gifted," Zinoleesky explores the psychological toll of fame, offering a poignant meditation on expectation and spiritual reckoning: "They say I'm blessed but why do I feel cursed?" Similarly, "Born Survivor" and "On Go" double down on themes of discipline and hustle, framing success as a relentless journey rather than mere happenstance.

Beyond personal struggle, "Gen Z" amplifies collective consciousness. "Jollof" and "Ayamashe" use iconic Nigerian foods as metaphors for authenticity and attraction, bridging traditional culinary with modern romance.

In interviews, Zinoleesky frames "Gen Z" as both a generational manifesto and a fusion of global influences, blending afrobeats, amapiano, R&B and trap to mirror how Nigerian youth navigate hybrid identities.

Zinoleesky's resurgence is more than a comeback; it's a case study in reclaiming narrative control. With no formal inquiry or charge, the industry's swift silencing of his music laid bare the pitfalls of cancel culture. Yet by embracing digital platforms, direct streaming, social media engagement and guerrilla marketing, he turned adversity into opportunity. He invited fans into private listening sessions, livestreamed behind-the-scenes studio sessions and leveraged TikTok challenges to maintain momentum.

In doing so, he demonstrated that authenticity and community engagement are the ultimate antidotes to cancellation. When gatekeepers fall silent, artists can and will find new megaphones. "Gen Z" stands as a blueprint for turning adversity into artistry. Zinoleesky's fearless response to boycott and backlash signals a shift in power from traditional gatekeepers to a generation who will not be silenced. As streaming numbers continue to climb and sold-out shows light up Lagos streets, one truth emerges: Power has shifted. It no longer resides solely with radio programmers, festival bookers or label executives. It belongs to the artist who refuses to be sidelined and to the fans who refuse to let them be unheard.

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If you were wondering where Nigerian Afropop artist Kizz Daniel has been hiding ever since his 2023 hit song “Buga (Lo Lo Lo),” then look no further. This is because the cool uncle is finally back leading to a world tour and he has an important message to share with his day one supporters. After he topped the UK Official Afrobeats Chart with “Twe Twe”, he sold out the Wembley Arena, and his “TZA” EP was one of the most streamed afrobeats projects of 2024 amassing over half a billion streams. A notable two-song EP Marhaba x We Must bringing us the Mediterranean ocean waves recently, Kizz has no plans of slowing down anytime soon. The world is Kizz’ and his next album is here to serve as a reminder.

On a Tuesday evening, we sat down with the starboy via. Video call to discuss his past triumphs, the upcoming project still kept secret and inner battles Kizz’ has been fighting behind closed doors, sharing an exclusive insight into his life.

First and foremost, thank you Kizz Daniel for joining Deeds on this special occasion. Would you like to introduce yourself to our audience?

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My name is Kizz Daniel and I’m an Afropop artist from Africa. 

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Tell us a little about your upbringing; how did you end up in the music bizz?

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My journey began from Ogun State, which is a neighbouring state to Lagos. I started as a member of a band. We had a pretty good run but unfortunately, things didn’t work out between us and everyone went their separate ways. So I decided to move to Lagos in pursuit of my own career. I’m so happy that I met one of the most hard working CEOs ever! So yes, G-Worldwide was (then) born. That’s how the whole journey started and we‘ve been dropping hits after hits… This is our 12th year in the music game and we’re still going strong.

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Absolutely! And stronger than ever, I must say. An interesting shift in your career, that also aligns with the title of your upcoming fifth studio album, is your “Buga” song. I believe at the time, you were one of the most streamed artists in Africa. This was also the beginning of collaborations with some of the new gen in Afrobeats. How pivotal was this moment to you?

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It’s just for the love of music. Sometimes because you sabi chop rice, no means say you go dey chop rice everyday. Sometimes you need to try other food. I enjoy working with every one of them. I haven’t worked with a lot of them though…

Yes! That was going to be my following question. You have BNXN, Seyi Vibez and Blaqbonez recently…

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Is Blaqbonez a new gen?

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Yeah, I would say so.

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Okay, I think I worked with quite a lot of them [laugh]. Listen, I love making music, that’s what I do. At every opportunity that I have to make music with people, I just take it. I had my own studio experience running for over 3 years or two. Different artists come to my studio to make music and record tracks. I think it was around that time I made those songs with these beautiful talents. Whether it was made in my studio, I enjoyed having them around and making music with them. Recently, I added sessions with Blaq and we made incredible music. I can’t wait for you guys to hear it, it’s so beautiful. 

When I make music, I am not making music for a selfish reason. I make music because I enjoy making music. Not necessarily what I want to get from it. I don’t mind who you are, your status nor how big you are, as long as I can connect to your music, as long as you sing and it touches my soul with your voice, it doesn’t have to be angelic, as long as you can just touch something within me, then I’m sold. When I share that space with someone who is like-minded, it just makes that space even more beautiful.

Just looking at the landscape of let’s say Afro-music altogether; what is your opinion on the new emerging artists such as Rema or Asake, with such an experimental and distinctive voice who want to push Afrobeats further? Is it something you would encourage?

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Asake and Rema, just to mention a few, because we have the likes of Ayra Starr, Tems, Tems, Tyla from South Africa, and the rest are all doing great things. Everyone is taking the culture to greater lengths and making their people proud, they’re doing what is expected, do you understand? And then, they are doing way more than expected (from them). They are going beyond expectations. I’m not surprised with what is happening right now because when I came into the scene, there weren't a lot of opportunities. The energy- it feels like we are all connected to each other. We’re communicating to one another because everybody keeps chasing the same thing; everyone wants Afrobeats to be bigger than what it is. Everyone wants to put Afrobeats on the map in different areas and parts of the world. 

The other day, I saw Rema put up a tour and perform in arenas in Japan. I have never seen this before from any Afrobeats artist! That’s like the first time. So that is pushing boundaries if that was the question asked. I don’t have any reasons to be sad, I am more than happy to be witnessing this right now. What Tems is doing in the western world with her music… She is a Yoruba girl from Nigeria, she’s our sister! Do you know how beautiful it is that you just have a lot to say about some major superstars and icons around the world? So yeah, I am beyond happy and I like the fact that everyone is thinking the same thing. It just feels like the goal is one.

We love to see your enthusiasm. This would bring us to the upcoming album because you chose the title “Uncle K.” Uncle is a very peculiar member of a family. So before we dive into the content of the album, what does “Uncle K” mean to you?

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I chose the term uncle for obvious reasons. The K stands for Kizz and the uncle is just to show I’ve been around for a while. But then, you know those cool uncles during thanksgiving? That keeps it jiggy, young and fresh? Yeah, that’s the type of uncle I’m talking about. Not the fat belly uncle. Successful, tall, muscular uncle. That’s the vibe.

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The uncle is just a new form of branding that I’m trying to back on because I’m ready to put certain things behind me. If you check my page, the certain styles I’m trying to put ahead are more traditional wears and suits. There’s nothing wrong with what everyone else is doing, they are all beautiful the way they are. I just want to establish a new brand through my music and this album. It’s like, you know what? Put some respect on my name Kizz. I’ve done this over and over again. It’s not easy; 12 years and still going. 

That’s what I stand for. And also, when my dad was alive. His siblings used to call him uncle K. So I kind of stole it from there.

That’s very interesting. Sounds like a new chapter, so to speak. Speaking of evolution: where has your mind been since the last record and how did it come to the completion of this body of work?

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Whenever I’m working on a project, I don’t necessarily have a thing, I just make music. Funny thing is I’m always in the studio and always recording. The only difference this time around is the fact that I’m trying to show growth and maturity in my music. For instance, we dropped the song ‘Police’ with Angelique Kidjo and Johnny Drille a couple of weeks ago. That is me trying to embrace this new phase. It’s a classic. (We are) making music that is probably going to help people. 

The 2022 era, I had quite a lot of trendy songs. And I realized that most times I put out this music, people just take it straight to Tik Tok and then, turn it into a trend. Everytime I see my music, it becomes a Tik Tok sensation and all that. 

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Well, with all due respect, we need to put credit where credit is due. A world cup performance at Qatar is not just another trend, is it?

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I’m not talking about the music, I’m talking about the acceptance of the music. When I started back then, there weren't too many promotional tools online. All of this Tik Tok and stuff. People would push and promote their music the normal way. Also, the attention span of the average listener was longer. People would consume, absorb the music and listen. And that’s how I’ve trained and raised my fans to listen and enjoy the Kizz Daniel experience. Suddenly, when the extra tools started popping out here and there. From 2019 onwards, there was a change. K’s music is now too much fun. They do that with my songs, I don’t know why they don’t do it with the other artists [laugh]. Although it is good because it translates into streams and we make money from it, but I'm an artist. I want them to listen to the full song. Not just to go low, low, low… There’s a whole other message in the song that you guys are missing. 

There’s some songs that you love that you can sing from start to finish because you were actually listening. That is exactly what I’m trying to correct with this album. I’m not making it for the kids, I’m not making it too easy. I actually want you to listen to the album. Once you hear the first note or the first line or the first melody or the first string or the first percussion you already know, I have to sit down and listen to this.

I’ve been dropping hit songs since 2014. There was no Tik Tok (then). It was just pure listening energy. It was just people trying to enjoy their music. That’s the era I'm trying to go back to. Some artists still have it unlocked, but I feel like at some point, maybe because I love vibing to my music. Sometimes when fans see me vibing to my music, they’re like okay fine, this is what he wants us to do, which is beautiful and I love seeing it. But I want people to listen to my music more, better than just picking a song and just dancing to it for Tik Tok for a couple of months and then, move on to the next thing. I don’t know if what I’m saying makes sense.

I mean, it is one of the burdens of an artist where you always want to outperform yourself and do better because it is part of the sport.

Exactly! I don’t want it to be about trends, I want you to listen and absorb the music. Not just aimlessly go through the song. I’ve done this before, this is a new time, this a new spirit, I just want you to enjoy the music. We’ve been through all of that in 2022 and 2023, now it’s a new phase, let’s just listen to music and enjoy the rhythm. That’s why I agreed to jump on Fola’s music “Lost” because that’s the type of music that I’m trying to introduce to the industry.

So why now? Why is it important to unfold this new chapter in your life right now?

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Because everything else is boring [laugh]. Honestly, I’m tired of dropping hit songs. Every time I drop a hit song, it’s a hit. I just want to try something new. I want to try something different because Kizz Daniel record is always going to be a hit. I believe it is time to make my fans a little bit uncomfortable. And then, they will get comfortable later.

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There’s not only an album that we’re expecting, but also a world tour. There were a lot of dates stemming from the United States. So I wondered what was the thought behind this decision?

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Okay, I’m not supposed to have a good number, abeg?

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No, of course! [laugh] Is there an angle?

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It’s because I got good offers. 

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Fair enough.

I owe my fans a lot of good energy… I’m just kidding by the way. I think it has been a while since I toured the US and it’s unfair to my fans over there. We don’t even have that much though, it’s only six of seven dates. Almost two years now and I’m finally coming back to the States to reconnect with my fans over there. Start a new chapter with them and this album.

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And we love to see it!

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Thank you.

Of course, it wouldn’t be a Deeds special without some exclusives. 

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Oh, yeah?

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Well, I imagine “Police” will be on the album; are there any features you’re keeping a secret and can reveal to us?

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Yes, a couple.

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Shoot.

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I’m not saying sh*t [laugh].

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Not even one? [laugh].

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No! [laugh] The last time I started running my mouth on radio, I couldn’t get clearance on most of the collaborations. However, this time around, fingers crossed, I don’t want to jinx it. Just let me keep it moving.

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Can we expect more collaborations with OGs or new gens? Do we have Benin boys in this album?

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I don’t know… I don’t think I have too many new generation artists. Maybe like three of them. Most of them are OGs in and out of Africa. People that I know, grew up listening to and people I really do respect. One of them is Angelique Kidjo. I sampled her song in “Police” as well. So you have an idea of what to expect.

Yes and we do appreciate you sharing some details. Who does Kizz Daniel listen to these days?

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Ah! [laugh] I listen to a lot of people. I don’t have specific artists that I listen to, I just listen to random stuff. It’s crazy because right now, as I’m talking to you, I'm listening to this rock band called Owl City. I used to listen to them some time ago but then I stopped. Recently, I went back to their music.

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As a final question; Is there anything you want your fans to know about this album?

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I want them to know there might actually not be an album. 

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Can you repeat yourself please? [laugh] What is happening?

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You asked me and I answered your question.

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We’re going to need an explanation, please.

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It’s nothing that deep [laugh]. Life is life and it’s always life -ing. Until it’s perfect I’m not giving it. I’m a perfectionist. Sometimes I get bored too quickly. If sh*t takes too much time, I will just be like, eh? We’re moving on to the next thing. Tomorrow might come and I might decide that, you know what? F*ck it, I don’t want to drop that album, I just want to drop something else. Maybe an EP, but right now the plan is an album. One thing I want my fans to grace themselves for is that they might not be an album or there might be an album, who knows? 

No, no, no… You’re saying this as if a world tour is not coming right after the album release and your fans are not lining up at the venues.

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The world tour is definitely going to come, but I don’t need new music for the world tour to be a success. I already have the catalogue. You sound so concerned!

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Of course, I’m concerned! Deeds Magazine is coming to one of your tour dates. But as fans, we’re very happy to hear that the world tour is here to stay.

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Yes of course, the tour is definitely here to stay. Let me tell you something crazy that happened. Most of our important devices that stored my music, etc… Has crashed and it is now in the United States to try and recover the data. That might be the reason it can come to a slight delay. Our tools got completely fried and the backup was left in the computer overnight with the laptop plugged in. But I’m back in the studio and we’re recording something else but I’m not a fan of what I am doing right now because it’s a lot of work. I’m trying to record some of the songs because the album is supposed to drop on May 24.

You guys are the first to know what’s happening to me. If an album doesn’t drop on the 24th, I can’t record 14 songs in two weeks. It’s too much and I still have to go to shows. If Apple can get back my info, then hallelujah! I move forward as planned.

Kizz, we wish you all the best for the remaining days until the official release date. Of course, we will be the first to inform your fans if there’s any last minute changes. However, Deeds Magazine will see you on tour, are we right?

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Of course! I can’t wait to see you guys backstage, taking pictures and doing interviews. I’m very camera shy, by the way [laugh].

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As you listen to Nippa's nine-track EP, a tone of strength and resilience permeates from start to finish. Hope She Hears This introduces a different side of Nippa, starting with the opening track, "Insecure." The project, sonically, is a testament to Nippa's growth and a strong offering of R&B from the Tottenham native, showcasing his strength as an artist. 

Executive produced by Sons of Sonix, the marriage of the production against Nippa's lyricism and vocal performance shows the project's strength. Across the nine songs, the openness and vulnerability in Nippa's lyrics bring out the growth and personal development you get from the project as a whole. The lyrics are raw and honest, delving into the complexities of relationships and the emotional aftermath of a breakup.

The advancement of his artistic journey among his counterparts has shown why he is one of the freshest voices from the UK. He can offer his abilities and bring his flair to any song he jumps on. With collaboration with the likes of Odeal, Larry June, Santino Le Saint, Craig David, and DJ Drama, to name a few, each track on the EP brings a unique blend of styles and influences, showcasing Nippa's versatility and the collective talent of the featured artists. He has also shared stages opening for the likes of Bryson Tiller and Jack Harlow, which are a testament to where he has gotten to since the release of his debut single 'Squeezin' Ya' back in 2019.

Arriving at Hope She Hears This feels like somewhat of a turning point for him. The songs themselves, as previously mentioned, are rooted in the growth and vulnerability that come from the display of personal development and self-reflection one goes through at the end of a relationship. 

The storytelling on the project shows him hone in on his songwriting ability, really letting people into his inner thoughts, and experiences he has had that have led to the creation of the EP. Standouts include the opening track "Insecure", which will be heavily relatable in the feelings of never being enough when it comes to being in a relationship, and seeking that reassurance from a partner who is not giving much. The Ken Samson produced "Kiki's Brown Eyes" has a melody that matches the emotion of longing and reflecting of a lost love married perfectly with the visual offering that matches the essence of the songs reflective and reminiscent nature of a previous or lost love. Previously released single "Unfair" with thisizlondon releases the burden and feelings of staying in the relationship and walking away, whilst "WYD Here?" faces the inevitable situation of bumping into said ex. 

Throughout the project, Nippa and his collaborators, including the likes of LONDON, Charlie Quarren-Evans, Ken Samson, Ovie Hunter, and Moses Samuels, create a solid synergy that flows across the tracks. This unity, not just in the lyrics but also in the music, creates an easy flow that is present throughout the project. The vibe itself makes it a great soundtrack to ease into the summer months, and with everything Nippa has put into the EP, it is undoubtedly one of his strongest bodies of work so far, and there is no doubt this is just the beginning. 

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Detroit’s Diamond: Icewear Vezzo Builds an Empire While Staying True to His Roots

It’s rare to find an artist who's deeply respected for their music, successful in business, and genuinely connected to their community. Detroit's Icewear Vezzo is exactly that kind of artist. He proves what happens when raw talent meets smart business moves and a real commitment to lifting up his hometown.

Despite his growing recognition, Vezzo remains humble. "I'm still making that change," he says about transitioning from underground to mainstream success. "I'm still in the process." He recognizes how far he’s come, but his eyes stay fixed on what's next.

What truly sets Vezzo apart is his unwavering drive. "I'm still hungry overall," he shares. "I have things to do and people to take care of. My passion for creating more and more every year is getting stronger and stronger. I'm still hungry for the entire world to hear Vezzo." Unlike others who might relax after making it big, his ambition only grows stronger.

When discussing his influence on Detroit’s music scene, Vezzo keeps it real: "I'm on the 'IN' so it's hard to see from the 'OUT'. I would like to think it's appreciated, but sometimes what we think, what we want, and what we like don't align with what others perceive or appreciate." This honesty shows he’s more focused on authenticity than validation.

Vezzo’s deep pride in Detroit fuels his mission to showcase its talent. "The world needs to know how dope Detroit is," he insists. "The entire globe, every city. Although Motown collapsed, the community, the music, the artistry, and the talent never stopped growing." He sees himself as bridging Detroit’s legendary past with its promising future.

Beyond music, Vezzo has built an impressive business portfolio — from Vezzo Hotz chips and Iced Up Records to Fresh & Pressed Juice Bar and various cannabis brands. Asked about the inspiration behind these ventures, he simply replies, "The future." His forward-thinking approach creates stability beyond the unpredictable music industry.

But Vezzo’s impact isn't just financial. He's deeply involved in community initiatives like back-to-school events, free transportation around Detroit’s 6 Mile, and holiday charity drives. His motivation comes from observing missed opportunities: "I saw others who had the power to change this city, or at least put the city on a different path — and they didn't. So, I made a promise that I would do everything they didn't do."

The key lesson from Vezzo's journey? Stay true to yourself. "Believe in your sound and trust your gut," he advises. "When you know your fanbase, you know your fanbase… when you know your sound, you know your sound. Don't rely on anyone to see your vision through; ultimately it's on you. Because I believe our career is a reflection of our work ethic."

Returning to independence after his recent label deal, Vezzo stays optimistic: "I didn't choose this; it was the hand I was dealt, and like anything else, I'm going to make the best out of the card God handed me."

Looking toward 2025, fans can expect relentless music from Vezzo, who confidently states, "I AM NOT STOPPING." Upcoming collaborations with legends like Fabolous, Pusha T, and Warren G further solidify his respect within hip-hop.

Currently, amidst his busy life, Vezzo prioritizes Fresh & Pressed Juice Bar, proudly highlighting his wife's leadership: "I'm morally focused on Fresh and Pressed Juice Bar. I want it to be known she is the owner; I'm the investor, and she's overly successful with this."

As Vezzo’s latest project Undefeated gains momentum, it's clear he's an artist refusing to be boxed in. Music, entrepreneurship, and community activism aren’t separate roles — they're all essential parts of Icewear Vezzo’s vision to represent Detroit and leave a lasting impact far beyond music.

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Credits
Artist : Icewear Vezzo

Photographer: @Bytunde Williams Peters

Assistant Photographer: @Jubistudios Jubril Oyedeji

Creative Direction: @Bytunde Williams Peters

Stylist: @StyledByGlo_2 Gloria Johnson 

Assistant Stylist: @pilimalawa Pili Malawa

BTS Photo & Video: @Shotbygk Chukwudi Ibe  @yb_captures  / Yuriy Baranov

Interview: @sitacita1 Sita Kone

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Complaining about The Headies has become something of an annual ritual for Nigerian music enthusiasts. Every year we anticipate the awards show with bated breath, holding out a sliver of hope that this year’s edition would meet the minimum threshold of normalcy, only to be utterly disappointed, every single time. This year’s installment of the award show came complete with the usual spate of problems. The organization was wonky as usual. The concept of timeliness was entirely treated as an afterthought. It almost seemed like the organizers regarded the time limits imposed on each section as being a pointless subtext. The production was characteristically abysmal. The sound system, at times, felt comparable to a cheap public address system. The video broadcast could as well have been from the 80s. But these problems, however appalling, pale in comparison to the biggest ignominies of the night. 

At some point, the show ran out of plaques to award the winners. Pause for a moment, take a long, deep breath, and consider the ridiculousness of it all. How does an award show run out of plaques to award winners they selected? It’s not as if the number of categories was expanded on the night of the event. In all my years of following award shows, I’ve never witnessed anything remotely close to this. But that’s not even the biggest infraction of this year’s event. As of when the show closed for the night, minutes past 3am, the winners of several major categories had yet to be announced. As of Monday afternoon, several categories were still being announced on social media. For all the lapses of previous editions, this year marked a new low for the award. 

Awards shows all over the world routinely stir hotly-debated conversations and sometimes controversy. But it’s usually on account of their subjective nature. How does one objectively decide the best album, the best film or the best song in a calendar year? As a result, some people will always take issue with the choices of the organizers/voting board. But it’s part of the fun of award shows. Critics spend time dissecting the winners and losers. Fans in turn entertain themselves with arguments and opinions about controversial decisions and high points of the show. The Headies in contrast leaves little room for such entertaining conversations as the post-award-night focus is usually on the many problems of the show.

In 2022, The Headies sent seismic waves rippling through the media landscape when they announced that the award show would be moving to the U.S. A vast swath of people were aggrieved by the decision, but most felt disoriented, confused, left in the lurch by this seemingly incongruous and unilateral decision. How could they not feel concerned? The change meant that the average music enthusiast who would have otherwise been able to attend the show, could no longer attend. The optics of a Nigerian award show relocating to the U.S. also seemed ominous. 

A few days later, Mr. Ayo Animashaun, the CEO of Smooth Promotions, which produces The Headies,  joined a Twitter Space I co-hosted, under the aegis of  THE NATIVE Magazine. He calmly explained the rationale behind the move and tried to assuage all parties. The move, in his telling, would afford the show benefits such as access to the richer American media landscape, better production quality, and possible partnerships with global brands. Given his calm demeanor and his plausible explanations, we acquiesced and hoped for the best. The American experiment, however, turned out to be a disaster. The same problems persisted for two straight years and the show eventually had to return to Nigeria for this edition. 

This brings up the question: what exactly is the solution to The Headies’ myriad problems? The answer is surprisingly simple: the award show is long overdue for a culture shift. The show's seemingly endless decline implies that a significant chunk of its staff is dropping the ball. There’s nothing inherently wrong with making mistakes. To be human is to be fallible. But when said mistakes continue yearly—with increasing intensity even—that’s a clear indicator that something is fundamentally broken. Consider the major lapses of this year's show—running out of plaques and closing the show without announcing the winners of several major categories. These could have been easily avoidable if the staff had done their due diligence. An organization is only as good as its people and culture. If The Headies is serious about getting it right in time for the 18th edition of the award, due later this year, then they need to embark on a company-wide restructuring effort.

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Isaiah Falls is a multi-talented artist who draws his inspiration from various genres. His works have a certain depth and vibe that are symptomatic of his dedication and passion for his craft. His music reveals his sentiments on love as well as other aspects of the human condition, but most of all, it expresses an anthem to persevere and move forward. For Isaiah, it is more than just music; it is a medium—a medium to radiate and enlighten. Our interaction with Isaiah builds on the depth of his creativity and piques the genesis of where it all started.

Isaiah was always deeply surrounded by music. There was a density of music in his household that strongly contributed to producing his musical inspirations. His parents, too, wanted a life through music, coming up as A&R in the music industry. Isaiah addresses where it all started, the catalyst and the inflection point for what started his musical journey. “I think I was kind of raised in music,” Isaiah reflects. “Being raised in a Church, I was always around it. So, it was kind of in the family. It was in the household at all times.” Watching his parents’ musical pursuits was the catalyst to Isaiah's fascination with music. “I saw my parents pursue music when they were coming up as A&R in the music industry, and it didn’t really work out for them.

So, I was like, let me get a crack at—let me try my best to see if I can make their dreams happen.” His parents’ journey with music wasn’t a deterrent, instead, it fuelled his curiosity and strengthened his resolve to continue where they had started. In his journey, Isaiah could see the prospects, and with that, he knew he was on the right track. “So, I started recording music, and so, I was like, I’m actually decent at this.” In 2017, Isaiah started releasing music, and in 2019, he made a major step by quitting his job and going into music full-time. “I’m going to just pursue it for real. I was giving it 80% of my time, and I realised that that wasn’t going to be enough, so I gave it 100%, and then when I made that decision, everything changed.”

On the subject of musical influences and how that shaped his artistic personality, Isaiah draws considerable inspiration from his family. “My dad was a drummer, and my mom was a singer. So, they alone were super inspiring for me.” So inspired that he wanted everyone to experience it. “When I was three, I asked them to perform in the Church”. His external influences could be attributed to his siblings. Being the last child of seven, Isaiah was bathed in musical diversity. “Everybody has a different taste in music growing up.” However, it was his sister's musical proclivities that affected him most. “When she was playing in her room, I had my ear to the door. I was trying to figure out what that was. There was a lot of different music. A lot of Justin Timberlake, Ludacris, OutKast, Drake, Chris Brown, Kendrick Lamar, Mike, and Kirk Franklin.

Isaiah marks 2017 as the turning point in his music career. On the question of his draw to music and potentially taking it as a career, he mentions that making that pivot came with a lot of awareness. “I had to understand that it came with so much more than just the music. It’s deeper than the music. You have to be someone they can relate to—the fans can relate to; you don’t have to be perfect because no one is. So, when I figured that out, I was like, let’s do it. Let’s make it real.”

Isaiah speaks on his collaboration with Odeal, specifically what brought about the process and how this could potentially inspire more international collaborations. Isaiah had nothing but eulogies for Odeal, praising his work ethic and his musical complexity. “Odeal is extremely inspiring to me, and he is incredibly talented. He had an EP, and I had it on repeat for months. I knew I wanted to work with him at some point.” Speaking on Odeal’s writing prowess, he narrates. “That boy is quick. I write music quickly, but he writes quicker than me.” Isaiah respects Odeal’s work and dedication. He is amazed at what their collaboration gave birth to and is hopeful they create more magic.

“Florida Baby” is arguably one of Isaiah’s best tracks. Being an artist from Florida, it is not difficult to piece the puzzle and assume that his home played a major role in the song. Speaking on how his work radiates where he comes from. “I think for me personally, I make R&B music, so a lot of the time, it’s real smooth, but coming from Florida, we were raised on Trey Daddy, Kodak Black.” For Isaiah, his music had to replicate the same feeling these influences instilled in him. He has to make sure that his “music knocked” to make sure that the “car still shakes while you’re going”. Isaiah tries to give his music depth by adding layers. He doesn’t restrict himself to the confines of his genre, but takes a dynamic approach to conceptualising and producing his music. “I was hearing these bouncy, super bouncy beats, and I was like, wow. This doesn’t give off what I’m used to seeing in R&B: a super moody mellow vibe, and I like that, too. My favourite music has a little bit of a mix. They have a song that’s up, a song that’s down. So, for me, whenever I’m making projects, it’s always making sure there are moments where people can dance, and then there are moments people can cry if they need to.

When asked about his dream R&B collaboration, Isaiah gives some pretty interesting answers. “For producers, Quincy Jones. For artists, Miguel, Tems, and Cleo Sol. For rappers, Kendrick and Kodak. Speaking on his discography, Isaiah highlights “Pimps Interlude” as his most underrated song. “I think people didn’t catch on to it since it’s such a short song”.

Isaiah’s musical integrity is deeply rooted in his familial foundation. He truly is inspiring and is a testament to how perspective shapes our outlook on life. He is on a creative journey to greatness that cannot be stopped. He has sworn to live a life of storytelling, a life that inspires and resonates with his fans. His story is one of dedication, persistence, and courage. The possibilities are endless for Isaiah, and we can only wait and see what that possibility brings.

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There are those in life who stumble into a talent and then there are those who are just born with it. Nairobi’s very own Xenia Manasseh is in the latter category of individuals who were not just born with a talent but are gifted. Their talent is not just something you are amazed by, but it moves you into deep self-reflection that leads you to a place of healing and joy. 

I was honored to speak with Xenia and throughout our conversation, I came to understand that music was an art form destined to be a part of her story.  

When speaking with Xenia, I was in awe of her passion for the craft. She doesn’t merely sing, compose, and perform songs rather she deeply feels the emotions evoked within her music. As a daughter and granddaughter of musicians, she embraced her musical identity from a young age going as far as to feature her grandfather, Edgar Manasseh, on the first track of her debut album LOVE/HATE Pt.1. Her family is intrinsically woven into the music history books of the Swahili coast, with her grandfather’s cousin being the legendary Swahili singer Mzee Ngala popularly known as the Bango Maestro – he is credited with creating the Swahili coast music genre “Bango” that incorporates Portuguese, taarab, jazz and local bantu music sounds.   

Xenia officially started her music career in 2018 and released her first single “Niambie” in 2019. Since then her discography has expanded to two EPs, Fallin’ Apart & Maybe, and two sequel albums, LOVE/HATE Pt.1 & LOVE/HATE Pt.2. She has collaborated with various artists from Sauti Sol, Tay Iwar, Hamza, Mr. Eazi and more.  

Though she’s known for her RnB melodies, you can sense that Xenia does not want to be defined by one sound, melody, or rhythm. She’s embracing the full breath of musical experiences that this art has to offer. You can see this clearly in her most recent album, LOVE/HATE Pt.2, with songs such as “Asali” which is an Afrobeats track that was produced by Nigerian Producer Cracker Mallo, who has also worked with the likes of Tiwa Savage, FireboyDML, and Amaarae. “Dare You” is another track where you see Xenia really expand her musical palette, the song is characterized by an up-beat reggae rhythm that incorporates both RnB and Rap flows.  

Beyond just her singing abilities, Xenia is a gifted writer who moved to Atlanta in 2018 after graduating from UC Berkeley to begin her professional career as a songwriter for UCMG. Clearly, her time there paid off as she later got to write for Teyana Taylor’s 2020 “The Album” project. During this time, she continued to craft her own songs, working with a range of producers that she met from Berkley and from her period as a songwriter. 

The producers she has worked with range from Juls, MOMBRU, Yumbs, to Juma Tutu and more. These producers alone represent genres from Afrobeats, RnB, Amapiano, and Swahili Jazz – all speaking to Xenia’s current artistic direction that is rooted in experimentation as a foundation of her musical creations.  

One of Xenia’s breakout moments was when she performed her single “Wild Ride” on COLORSxStudios. Her performance of a bouncy RnB flow with a soothing voice immediately caught my attention, sending me down a rabbit hole of trying to discover more of this incredible artist.

My words alone won’t do justice in describing Xenia's story and musical ingenuity. So, sit back and indulge in a conversation that will connect you to the gift that is Xenia Manasseh. 

What song of yours, recorded or in development, perfectly describes you at this current stage of your life? 

The song doesn't even have a name. It's just called April 1st right now, and I wrote it last year on the 1st of April. It was basically a song that I wrote about the growth that I recognize in myself. Some of the lyrics are, ‘nowadays I speak my own language. Everything I do in my time, and I say a prayer for all the moments, won't let anything just pass me by. I stay dreaming while I'm awake these days. It's not just a phase, just like realizing that I've finally moved past a lot of pain and a lot of self-doubt and a lot of, I guess I would call them human stages of being human.’

If you're looking for the answers and if you're asking questions, growth is inevitable. And Music has always been, at least from when I started writing songs, the way I've confronted how I feel deep within. And so that song coming out of me was like, okay, so I do genuinely recognize these things in myself, and I do genuinely see growth. And I do feel like I'm moving towards the kind of life that I knew I could have. And of course there's like an image that I have of it, but who knows what else comes with making this progress, you know?

Growing up, who or what influenced your musical journey?

There's a lot. I've always done music since I was a kid. I have a memory of me playing the piano in kindergarten. There's a lot of memories from when I was younger that I don't remember. But I know that I always sang, like my mom was always singing with me. My mom was my duet partner for the longest until my brother was born. Our whole family's musical. All my siblings sing and can sing really well. My brother is an artist.

My grandfather and his brothers were a band when they were younger and were also first cousins with someone that I think is considered an icon in Swahili coastal music, Mzee Ngala.  And my grandpa still has a lot of music that we grew up listening to. I remember Celine Dion, Whitney Houston, Eddie Grant, Earl Clue, Richard Clayderman, Nora Jones, and your local Kenyan music. And then my mom balanced it out with the R&B, the Angie Stone, Erykah Badu, India Arie, Lauryn Hill. And then when I was old enough, I just started collecting my own influences as well. 

R&B is clearly a huge influence in your music, what made you gravitate towards R&B more than any other genres? 

The only answer to the question is that I answered what was calling to me. I think it's impossible to be passionate about something and then not want to explore it in its depth. Like I feel like for any writing even with reading. You might have a favorite genre, but you won't just stick to that because you're more curious about the actual writing itself and learning, how different people approach things or how different things are said. How different people construct sentences. And that's the way that I started to view music once the songwriting came in. I always enjoyed many different genres of music, but the songwriting made me enjoy experimenting with creating different things. So now when people ask me what kind of music I make, I never just say R&B. A lot of what you'll find is R&B, but at this point I've experimented with so many things, it just isn't out.

In 2023, you had an incredible performance of your record “Wild Ride” on COLORS studio. I went and looked at the comment section of this performance, and there were so many Kenyans talking about how much pride they felt watching you up on that stage. Do you feel that sense of love from your fellow Kenyans?

I always have. I think it was coming home that made me realize that I wanted to be a full-time artist. I had put out a couple songs, but then I went back home late December 2018, and then early 2019 I released my song “Niambie” which now ended up on my first album, Love Hate Part One, four years later. The reception that I got from people here and my friends also in the US and just around the world, like it was so trippy to see people I know that don't speak Swahili at all, like my friends that are musicians, just like send me videos of them singing along to it. 

And I was like what is this. Also, I was scared of coming back home because I had gotten so used to the hustle and bustle of ATL and had spent so much time doing music on that side. And the music scene in 2019 was not what it is right now. There's so much acceptance for all these genres and I did always feel like one of my favorite things about the Kenyan music industry was how diverse the music is. You can find anything you are looking for. There's a crowd for everything. You can find trap in English, you can find trap in Swahili, and you can find trap in Shang. You can find RnB in English, you can find RnB in Swahili, and you can find RnB in Shang. 

What have been some of the difficulties and high moments of being a part of the live music scene in Kenya?

I think initially it was just having spaces for the different kinds of music that exist. You have people like Fay(Xenia’s manager), who has her platform, Nairobi R&B, which was already established by the time that I had come back home. So there was at least one space for me. 

And that's not to say that other people didn't book me for gigs or anything like that, but the space was dedicated to the kind of music that I create, or at least solely creating at the time. And for a lot of the people that I've seen who branched out and created their own genres, you kind of had to be the one making the music and the person that's creating these opportunities for yourself. During Covid, someone started a hashtag that was like PlayKeMusic. And for the last few years, that’s exactly what has happened. It's crazy to think about how much it's changed.

My highlight about the scene is that Nairobi is such a community-driven space. We’re squad deep and we're also interconnected. And Nairobi's a party city. And because it is such a party scene and nightlife scene, and so event-based, a lot of us are always at each other's events. So, our bond is naturally stronger because we end up spending time together, even though we're at the club or whatever, we are spending genuine time with each other and like exchanging energy. I don't think I feel that sense of community anywhere else. So that is my highlight and one of my favorite things. 

Artists tend to talk about how they have a muse - a person, or maybe even a thing - that serves as the real-life creative inspiration for their music, specifically the topics, the stories and the themes that they choose to highlight within their work of art. I'm curious who or what has been your muse that served as a creative inspiration for your music?

I've had many muses - partners, myself, life. Because I think it's all about presence and I think that's one thing songwriting has really helped me solidify within myself is the desire to be as present as possible so that I can find inspiration in as many things as possible. Today, it can be a person, tomorrow it can be a tree, the day after that it can be the way that the sun sets and the colors in the sky. So, I think I would say that the best answer is that life and the universe are my muse.

What was the inspiration behind your Love/Hate Pt. 1 & P.2 albums? And why did you decide to make it a sequel instead of having two standalone albums with no relation to each other? 

Pain. I'm a Libra and my sign is all about balance and I see the way that it plays out in my life. I see it not just in my life, but in everything. I truly believe that for every depth of pain that I've felt, there was a depth of love. You know, I truly see how things are equal, and I think songwriting helps me to, if not express what it is that I already know that I feel, to discover what I haven't wanted to deal with and to confront how I really feel. And that's just sort of how the music came out. I just started recording and I would freestyle. I had gotten used to freestyling as my way of writing songs. Like you trust that you know exactly what you're supposed to say. You trust that this is the moment when whatever song you're about to write is supposed to be written and you give yourself and your body the permission to just release whatever's trying to come out. And sometimes I'd say a whole sentence, sometimes I'd mumble melodies, but they sounded like words, and it was pretty much a whole song that I ended up piecing together in 20 or 30 minutes.

So, when I was recording Love/Hate, there were so many feelings that I had buried that just were ready to come out. And I just allowed it and, and I let my body, and my intuition guide me and was okay with admitting to myself that I was not okay in order to be able to be okay.

I feel like Love Hate was the best title because it was one thing before it became the other, and vice versa. Though, as the years have gone by, I try not to associate with the term hate. I feel like it's so extreme and it's something I don’t want to carry with me. I don't want to harbor any feelings like that towards anybody. I believe in forgiving and doing your best to move on. But I do think it was the title that best explained how I felt in those moments.

What role has loss played in both your personal as well as your creative life?

I think the timing is interesting because I just lost one of my best friends. And I wasn't able to be there for the memorial and I have been trying to process it, since it happened. I have to say shout outs to my boy MVROE. One of the things that I've thought about is how I've been fortunate enough not to have experienced a lot of loss that has felt very personal to me. It actually feels like this is the first time I'm experiencing it for real even though a couple years ago I lost someone else that I considered a close friend. But this one feels like because of the age that we're at, you know, somebody that's actually grown with you through some very crucial moments in your life. Like is somebody that's seen me from when I started trying to figure out who I was to where I am now and has been there the whole time.

I haven’t created anything since then. Not because I've been afraid to. I feel like that'll be the most helpful to me, because music has shown me that I have the gift to transform pain into something amazing and beautiful. But I don't think that it would affect me creatively because the way that I write and knowing what writing does for me, I know that it's one way that'll help me heal.

The personal bit is the one that's like one day at a time. But I know I could go to the studio. I would cry in the studio, and it would be great. I would leave having released something.

One of the songs that I was hooked on at the end of last year was “Beba” by Watendawili featuring you on their En Route album. And one of the main reasons I kept listening to that song was because of your beautiful verse that constantly pulled me back into replaying that track. Can you talk about your experience of working with this group and how you all came up with the concept for this song?

I love these guys. We have known each other for a while. Watendawili were a trio before, and then they became a duo. So, I've known them for as long as Soul Generation (Sauti Sol’s Record Label) has been in existence and I've constantly worked with them. 

I was always a fan of them when they were a trio and even when they became a duo, always loved listening to whatever it was they were doing. I just feel like they're so unique and they work so well together. And so, they had posted on Instagram “album coming soon” and I was in LA and I saw that post and I commented, “can I be on your album?” And they were like, “sure.” Then I ended up coming home and they messaged me like, “Hey, we left a song on our album for you if you still wanna do it.” And I was like “stop it. I feel special.” The song is called Beba because the album is called En Route. So, they were trying to have a lot of titles that had to do with traveling or destination. And in Nairobi they [the matatus] are always like “beba beba,” which means ‘carry’ in Swahili. So, I just went in there. They had their verses done and they had just left the middle bit for me. And it took us 45 minutes, an hour tops [to finish the song]. 

What are your hopes and dreams for Xenia in the years to come? 

I think I've always had the same dream since I was a kid. It took me a while to realize, but it was always to do what I love and to see the world. And music has helped me do just that. I think right now I’m in a period where I'm trying to figure out how to show myself to the world again and not just only show my music.

It's something that I've been battling with for quite some time. I stopped social media-ing and I kind of forgot how to do social media in a way that's authentic to me. And so, I'm just trying to figure out how to talk about my music again in a way that feels authentic to me. Be excited about posting it. Because I love my music, and I think the music is great. But with the way that the industry is now, you do actually have to be [that way]. I don't think that I am gonna be like that, but I think that I can find a way to do it [for me]. 

So that's what I'm navigating, and I know that it will do those things for me. And it's just that simple. Just be happy. Do what I love. Doing what I love gives love back to other people. 

Xenia Manasseh is a gift that we are lucky enough to experience in our lifetime. Her lyrics embrace both the unpleasant and beautiful elements of being a human, from loss, pain, to healing and joy. Her voice evokes understanding, tranquility and euphoria. Her talent illuminates the musical revolution taking place in the RnB capital of Africa, Nairobi Kenya.

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

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

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

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

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

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

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

5ive is a five out of five.    

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

CREDITS

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Photographer: Jonathan Tomlinson @jtjtjtjtjtjtjtjtjtjtjtjt

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

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Producer: Seneo Mwamba @SeneoMwamba

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Stylist: Jacob R Levine @jacobrlevine

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Styling Assistant: @lenaangelides @y0ungabz

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Grooming: Afsha Kabani @afshaartistry

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Movement Director- Ayanna Birch @ayannabirch_

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Lighting Director @jonah_dali

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BTS videographer: Shirin Chorfi @shirinchorfi

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Design: @margokatesmith & @ShalemAlone

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Creative assistant : Whitney sanni @its.whit_

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Writer: Seneo Mwamba @seneomwamba

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PR: Emerald East @emerald__east

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Styling

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Look 1:

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Jacket - Ala Tianan @alatianan

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Top - KOAT @koat.ny

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Bottoms - Labrum London @labrumlondon

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Shoes - Roker Atelier @roleratelier

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Hat - Stylist own

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Jewellery - Emanuele Bicocchi @emanuelebicocchi

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Look 2:

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Suit - Labrum London @labrumlondon

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Top - Mains London @mainslondon

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Shoes - Stylist own

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Hat - Benny Andello @bennyandello

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Jewellery - Emanuele Bicocchi @emanuelebicocchi

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Look 3:

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Full look - William Palmer @williampalmer

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Shoes - Diemme @iprlndon

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Hat - Benny Andello @bennyandello

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Jewellery - Emanuele Bicocchi @emanuelebicocchi

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

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

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

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

Meets the Players

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

Element House

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

Oontz Lagos

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

Group Therapy

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

Raveolution

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

Tamba

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

Sweat it Out

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

Sunday Service

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

Monochroma

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

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

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

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

LADY DONLI

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

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

DETO BLACK

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

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FAMOUS PLUTO

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

JUNO

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

KUNMIE

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

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TXC

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

LLONA

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

MAVO

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

MOJO AF

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

SAINT TAJ

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

TOYE

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

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ZAYLEVELTEN

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

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

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

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

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

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

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

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What is Homecoming?

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

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

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HI-FI: OUR HOMECOMING’S VERY OWN RAVE 

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Tracklist:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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CREDITS:

Photographer: Peter O’Sullivan @peterosullivan

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

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(Looks 3&4)

Producer: Seneo Mwamba @seneomwamba

Co Director: Cherise Hewitt @dripeisha

__Styling: Ramario Chevoy @ramariochevoy

MUA/Groom: Carly Corrine @carlycorrinemua

Hair: Aux @thisistheconceptcompany

Dog: Teddy @followteddybear

Dog Handler & Creative Assistant: Nadeem Ahmed @nadderz

_photography

Creative Assistant: Whitney sanni @its.whit

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Design: @ShalemAlone

Journalist: Thandie Sibanda - @thanddd

Studio: Bread & Butter Studios @breadandbutterstudios

PR: Lucid Publicity @lucid.publicity

Styling

Look 1

3 Piece Suit: @brisnclarkeofficial

Shoes: @Vagabondshoemakers

Look 2

Oversized PufferJacket & Trousers: @axiiom

Knitted Polo Top: @samsoesamoe

Footwear: @diemmefootwear

Earrings & Ring: @luckylittleblighters

Look 3

Full Outfit: Oswald Boateng @ozwaldboateng

Shoes: @vagabondshoemakers

Look 4:

White Leather Trench: @MainsLondon

Shirt: @Brainclarkeofficial

Jeans: @dailypaper

Tie: @ozwaldboateng

Shoes: @samsoesamoeLook 5

Fur Gilet & Denim two piece: @mainslondon

Hat: @bennysndallo

Boots: @timberland

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Pre 2000’s Era Rap Groups

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

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

2000’s Era Rap Groups

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

DECLINE OF HIP-HOP COLLECTIVES

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

SELF SABOTAGE

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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Why NARCASSIT?

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

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

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

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

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

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CREDITS

Photographer: Peter O’Sullivan @peterosullivan_

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

Producer: Seneo Mamba @seneomwamba

Stylist: Rhys Marcus Jay @rhysmarcusjay

Styling Assistant: Lerato Marupi @itsnotlerato

Creative Assistant: Whitney sanni @its.whit_

Design: @margokatesmith & @ShalemAlone

Writer: Seneo Mwamba @seneomwamba

PR: My Blaqbook @myblaqbook @giovannamae @1gracezadi

Styling

LOOK #1

Jacket: Dickies

Shirt: Ahluwalia

Trousers: Burberry

Trainers: Converse

LOOK #2

Denim Suit: Ahluwalia

Bandana: a pledge by rmj

Boots: Timberland

LOOK #3

Sunglasses: Szãde

Jacket: Silpa Clothing

Trousers: Vintage Yard Market

Shoes: GUCCI

LOOK #4

Full Look: Skyethestudios

Jewellery: Sky The Studios

LOOK #5

Jacket: COOBA London

Shirt: Richard James

Trousers: Blue Marble

Shoes: GUCCI

Jewellery: Skyethestudios

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

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

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

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

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

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

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

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

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Credits:

Photographer / Creative Director: Joe Puxley @joepuxx

Photo Assistant: Shekel Kennedy @shenellkennedy

Producer: Seneo Mwamba @SeneoMwamba

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

Styling: Ramario Chevoy @ramariochevoy

Hairstylist: Sheree-Jourdan @x_sjourdan

Make up: Dalila Bone @dalila_mua

Nail Tech: Sasha Walters @sash.her

Art Direction: Maureen Kargbo @maureenkargbostudio

Creative Assistant: Whitney Sanni @its.whit_

Design: @margokatesmith & @ShalemAlone

BTS:  Ben @fleeting_images

Writer: Seneo Mwamba @Seneo Mwamba

Studio: Blankbox Studio @Blankboxstudio

PR: Imran Malik Publicity  @imranmalikpublicity @katerinamarka

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Styling Credits:

Look 1

Shirt, trench coat & bag from MCM

Trousers from Sydney Davies menswear

Denim boots from Kurt Geiger

Earrings & ring from lucky little blighters

Look 2

Pink sculptured jacket by jacqueline Loekito

Heels by Kurt Geiger

Earrings & bracelet by Wanni Fuga

Look 3

Jacket by wealthy boys club studio

Shirt & tie from Topshop

Leggings from lazyoaf

Heels Kurt Geiger

Earrings from ECE London

Ring from lucky little blighters

Look 4

Jumper & skirt set by Jacqueline Loekito

Heels by Kurt Geiger

Earrings by Ahkeke

Look 5

Custom hoodie & wide leg joggers by kintsu official

Heels by Kurt Geiger

Earrings by Ahkeke

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

We’ll see you there?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

CREDITS

Creative Director: @deedsstudio (@xdeoye)

Photographer: @ThinkAkanni

Stylist: @TeaInChina_

BTS: @mitchefficient

Design: @deedsstudio (@shalemalone)

Journalism: @deedsstudio (@lanacreatesss)

Set assistants: @deedsstudio (@whoisolawale)

Location: @gidiup_ridingacademy

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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CREDITS:

Photographer - Jessica Ross @jessicaelizaross

Creative Director - TJ Sawyer @tj.saw1

Producer - Seneo Mwamba @seneomwamba

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

Creative Assistant - Whitney sanni @its.whit_

MUA - Hawa Abdallah @facesbyhawa

Stylist - Jennifer Eleto @jenelectro

Stylist Assistant - Mandizole Gushu @mandizolegushu

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

Movement Director - Cherise Hewitt @dripeisha__

Gaffer and Spark - Bruno Nnadi @risquesociety  & Yared Haileselassie

Design - @deeds.studio @dianeadanna

BTS - Jackie Jjacqz @byjjacqz

Writer - Seneo Mwamba @seneomwamba

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

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

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

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

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

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

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

South Facing Festival

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Q: What’s the last dream you remember?

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

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

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

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

Q: Lastly, what’s next for you?

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

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CREDITS

Photographer - Peter O’Sullivan

@peterosullivan_

Art direction and fashion - kwamena @kwamxna

Producer - Seneo Mwamba @seneomwamba

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

Fashion Assistant: loly and co - @lolyndco

Makeup Artist- Maryam Sofia

@maryamsofia_

Creative Assistant - Whitney sanni @its.whit_

Writer - Thandie Sibanda @thanddd

Studio - Blankboxstudio @Blankboxstudio

*Styling Credits*

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Listen to Tiny Apartment

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

ABOUT JOEBOY

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Enter Doechii a powerhouse who refuses to be boxed out.

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Breaking Barriers: Doechii’s Rise to the Top

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Yeah, for sure.

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

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

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

Yeah I still paint now and then.

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

It is the start of a new one.

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

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

Why are they your favourite songs?

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

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

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

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

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

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

Andre 3000!

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

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

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

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

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

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

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

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

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

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

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

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

Reinterpreting ‘Amorawa’ in ‘Back in Office’

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

Blending Eras in ‘Crazy Sexy Perfect Girls’

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

Flipping Collateral Damage in Chanel

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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Deeds: Describe Ave Maria in three words.

Micle: Heavenly, serene, timeless. 

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Deeds: Outside of music, what inspires you?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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Deeds Magazine: How has 2024 been for you?

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

Deeds Magazine: Mmm, in what sense?

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

Deeds Magazine: Is that through music or just personally?

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

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

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

Deeds Magazine: Being popular makes you anxious?

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

Deeds Magazine: Ashamed, why?

Odunsi (The Engine): Oh no.

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

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

Deeds Magazine: Can you go into detail about that?

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

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

Odunsi (The Engine): Yeah.

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

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

Deeds Magazine: Advice for just your followers or…?

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

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

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

Deeds Magazine: That’s deep.

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

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

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

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

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

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

Odunsi (The Engine): My older brother.

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

Odunsi (The Engine): Yeah.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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1. Rema: HEIS

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

2. Tayc & Dadju: Heritage

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

3. Len, Fimiguerro, Lancey: CONGLOMERATE

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

4. Tems: Born in the Wild

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

5. Asake: Lungu Boy

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

6. Tyla: TYLA+

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

7. Yseult: MENTAL

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

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

8. Damso: J’ai Menti

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

9. Bashy: Being Poor is Expensive

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

10. Llona: Homeless

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

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

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

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

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

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

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

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

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

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

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Credits: 

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

Photographer: Massimiliano Giorgeschi @maxgiorgeschi 

Producer: Seneo Mwamba @seneomwamba

Lighting: Alex José -  @alexjose.photo

Lighting Assistant: Bella Bujosa-Armora 

Mua/grooming: Dalila Bone @Dalila_mua

Stylist: Kiera Liberati @kieraliberati

Styling Assistant: Nnena Eagle

Jewellery: LKB @localkettlebrothersuk

Co-Director: Cherise Hewitt @dripeisha__

Creative Assistant: Whitney Sanni - @its.whit_

BTS Video: Derek Huynh @dxzfilms

Marketing Manager: Sophie Lee @eeleihops

PR: Always Protected Publicity @alwaysprotectedpublicity

Journalist: Seneo Mwamba @SeneoMwamba

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Styling Credits

Look 1

Jacket DAILY PAPER

Vest The lobby

Jewellery KETTLE BOTHERS

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Look 2 

Hat DAILY PAPER

Jacket BOY LONDON

Trousers YENISA

Boots TIMBERLAND

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Look 3 

Full look SILPA 

Trainers NIKE

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Look 4 

Full Look YYATOMIC

Watch KETTLE BROTHERS 

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Look 5 

Full Look SILPA

Boots Doc MARTIN

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Final Thoughts

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

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

Rating: 4/5

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

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

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

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

“There is a new energy here.”

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

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

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

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

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

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

Welcome to the Diary of a romanticise …

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

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

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

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

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

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

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

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

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

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

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CREDITS

Creative Director & Photographer: Radhika Muthanna @radhika.photos

Radhika Muthanna - @radhika.photos

Photography Assistant: Izzy Jennings - @capturedby.izzy

Producer & Creative Director: Seneo Mwamba - @seneomwamba

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

Stylist: Palesa Dlamini - @masentle

Styling Assistant: Elise Wayne - @itselisewayne

Lighting: Alex José - @alexjose.photo

Movement director: Anaïs Watson - @anaiswatson

Makeup Artist: Zakiyah Shani - @zakiyahshani

Hairstylist: Esther Elkana - @estheticshair

Creative Assistant: Whitney Sanni - @its.whit_

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

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

BTS: Johnny Cooke - @Johnny__cooke

Journalist: Thandie Sibanda - @thanddd

PR: Jaisha Thomas-Hinds - @Jaish_

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Listen to more music from Hamza Hawsawi here

Watch Wonder official here

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

CREDITS

Photographer - Gold Owolabi @golld.au

Creative Director & Producer - Seneo Mwamba @seneomwamba

Lighting - Bruno Nnadi @risquesociety

Stylist - Danette Pokoo-Powell @danettepowell_stylist

MUA / Groom - Carly Corrine @carlycorrinemua

Creative Assistant - Whitney sanni @its.whit_

Journalist - Seneo Mwamba @seneomwamba

PR - Twelfth House @twelfthhouse_co

Look 1

Kwaku Joseph - @kwakujospehbrand 

Mvc jewellery  - @Mvc.customjewellery

Look 2 

Kwaku Joseph @kwakujosephbrand 

Miss Tee collections - jewellery @misstee_collections

Look 3

Labrum @labrumlondon 

Custom hat by @its.whit_ & @danettepowell_stylist

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

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

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

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

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

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

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

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

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

Why Marketing is Crucial for Music Success

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

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

Key Roles Marketing Plays in a Song’s Success

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

CREDITS

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

Photographer - Jessica Ross @jessicaelizaross

Producer - Seneo Mwamba @seneomwamba

Gaffer - Nathan Ford @nathan.t.ford

Grooming - Carly Corrine @carlycorrinemua

Styling agency - jendaya @jendaya

Stylist - Jay Tagle @jayytagle

Styling Assistant - Taylan Holness @taylan.holness

Design - @deeds.studio (@dianeadanna)

Studio - Kimber Studio @kimberstudio_

Management - Zinitha Ntanjana @zinithacaprilad

Interviewer - Seneo Mwamba @SeneoMwamba

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

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

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

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

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

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

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

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

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

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

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

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

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

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

DJ Enimoney: Success to me, it's what I've done. I've done so many things, I can come today and say, it's me that did this, it's me that did that, you get me? Without work, without you doing anything, they can't say you're successful. You have to have an impact on the industry or society before they can say you're successful in what you're doing.

Deeds Magazine: What are your plans for Big Man's Party in the near future, including next year and this December period?

DJ Enimoney: We’ve got a lot coming for BigMan’s Party, and honestly, I’m super excited about what’s on the horizon. There are some major expansions in the works, and I can’t wait to share them with you all. But here’s the thing—it’s all a surprise for now. I want to keep some things under wraps because I believe in giving my fans those unexpected, unforgettable moments. What I can promise is that as we grow, we’re bringing even more unique elements to the party—whether it’s new collaborations, special performances, or fresh ways to experience the culture, you can expect BMP to continue pushing boundaries and staying true to the vibe that makes it so special. So stay tuned, because trust me, you won’t want to miss what’s coming next!

Deeds Magazine: What can we expect next from Big Man’s Party? Which cities are you visiting next?

DJ Enimoney: The world is my oyster, and while we’re excited about the growth of BigMan’s Party, I always prioritize quality over quantity. So, whatever city we hit next, know that it’s all about making sure every experience is special and tailored to the audience. We’re not just about expanding for the sake of it—we’re focused on creating memorable moments, building authentic connections, and celebrating the culture with passion and energy. This December, we're heading back to where it all began in Lagos, bringing that homegrown energy back to the heart of the scene. And come the top of next year, we’ll be conquering the UK, city by city. But it’s not just about adding cities to the list—each one will be an important stop, and we’ll make sure that wherever we go, every crowd feels valued and part of the BMP family. So stay tuned because the best is yet to come!

DJ Enimoney’s passion for Afrobeats and the Lagos nightlife experience has not only shaped Big Man’s Party but also redefined it as a cultural movement with a global reach. As he continues to expand the party across borders, Enimoney remains committed to preserving the essence of Afrobeats while creating spaces for connection and community. Whether it’s bringing a slice of Lagos to the UK or building a new fan base in a different continent, DJ Enimoney’s vision is clear: Afrobeats is here to stay, and Big Man’s Party is just getting started.

CREDITS

Producer: @iamdreameruk

Creative Direction: @thepikture

Photographer: @thepikture

Photography Assistant :@kene_madu

Design: @deeds.studio (@dianeadanna & @shalemalone)

Interview: @deeds.studio (@lanacreatesss & @xdeoye)

BTS: @delano.therapy

Lights: @iamdreameruk

Stylist: @guellorcanza x @amaechi_godwin_

Management: @kobra.culture

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Nigerian-born artist Ta Liebe, also known as Hamzat Talib, has released his highly anticipated sophomore EP, Absent Mind. This deeply personal project captures his evolution from childhood innocence to self-realization, exploring significant moments of pain, growth, and acceptance. Blending Afrofusion sounds with introspective storytelling, Ta Liebe takes listeners on a journey through the transformative experiences that have shaped him.

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Reflecting on his journey, Ta Liebe describes Absent Mind as a record of personal growth: “This project marks a major change for me, a time of facing my own shortcomings and learning from my past. It’s a collection of experiences from my childhood through my early 20s, all of which have helped me understand who I am today.” Through this EP, Ta Liebe delves into universally relatable themes of self-discovery, inviting listeners to resonate with his reflections on life and love.

The title, Absent Mind, emerged during a period of deep introspection, capturing his experience of coming to terms with feeling disconnected and finding clarity within himself. Each track encapsulates a distinct moment in this journey, as Ta Liebe explains, “It’s about finding awareness after feeling lost. Each song represents an awakening, a moment of realization that’s contributed to my growth.”

Released in January 2024, this sophomore EP marks the third project of Ta Liebe’s impressive career so far.

The EP’s five tracks span a range of emotions and themes. “Fall” and “Anything” offer guidance and resilience, reflecting his relationship with God and his journey of self-acceptance. “Advil” recounts the challenges of balancing love with a fast-paced lifestyle, while “BADA” explores the bittersweet nature of longing for a lost love. The upbeat “Ding Dong” captures the carefree joy of youth, embracing moments of freedom and connection.

Absent Mind also features collaborations with notable artists like Erigga, Magnito, and Major Bangz, who bring their unique styles to enrich Ta Liebe’s sound. To connect with fans, he is promoting the EP through social media campaigns, exclusive events, and even NFTs.

“With each track, I want fans to feel the emotions and understand the journey that led me here,” Ta Liebe explains. Absent Mind is a testament to his growth and passion, inviting fans to connect deeply with his story through soulful Afrofusion rhythms.

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Incredible scenes were set as Doechii took the stage at the first of her two-night stop in London as part of her Alligator Bites Never Heal Tour. Playing a sold-out show at Islington Academy Hall, the singer delivered an electrifying set that was powerful and fueled by energy and performance that had the audience going from start to finish.

The air was charged with anticipation as the audience awaited Doechii's arrival on stage. DJ MissMilan set the tone for the night with an hour-long set that had everyone on their feet. Even the security's attempts to get people to sit on the balcony level were met with resistance, adding to the excitement in the air.

Once the Florida native arrived on stage to a swamp-like setting that matched the aesthetic of her mixtape, she wasted no time getting right into the album's vibes. Opening with BOOM BAP, she delivered a series of back-to-back raps and tracks that lifted the songs in every sense. 

Doechii's artistry is a unique blend of melodic raps, playful flows, and intricate wordplay. Her songs like Yucky Blucky Fruitcake, Crazy, Persuasion, and What It Is have had viral moments, showcasing the continuous strength of her artistic ability. But when you listen to the mixtape, you truly understand the depth of her talent. The 19-track mixtape effortlessly showcases Doechii's range, telling stories of her struggles with newfound fame and vulnerability when speaking about her experiences over the past few years.

Putting those onto the stage with nothing but a DJ accompanying her, Doechii showed that you can give a lot even with very little. The debut tour sold out within minutes, and the evidence of two sold-out shows in London is proof of her potential and the star power she already has and is well on the way to continuing to the building. 

Her set was delivered from top to bottom throughout the hour-long setlist. Standout moments included BOOM BAP, which was an incredible tone-stater to the show before going into tracks like DENIAL IS A RIVER, Pro Freak, Persuasive, Stressed, PROFIT, HUH, and Alter EGO before ending with the album title ALLIGATOR BITES NEVER HEAL.

Overall, Doechii delivered a world-class performance that left the audience buzzing with energy. The crowd's reaction, from the first note to the last, was a testament to the power of her live performance, which for her first debut tour is a statement. After being met with the vibes and the energy, it was a sensational space to be in and certainly made for a Sunday evening well spent. 

When one looks at Neila's profile, it is undeniable that she is an artist who exudes creativity from top to bottom. The pop of colour throughout her artistic expression and the hyper glam and energy you get from what you see is just one part of her creative identity. 

Neila is not just a singer and songwriter who blends R&B and pop. She is a versatile, multidisciplinary artist who serves as a creative director and stylist, among other things. Her versatility keeps her audience intrigued and excited about her next project. 

Amidst the vibrant colours, a profound vulnerability resonates when you press play. On her latest EP, SCARS, released earlier this year, Neila delves into themes of loss, love, and a journey of inner transformation she has embarked on throughout the year. This journey of self-discovery is not just Neila's, but a source of inspiration for her audience.

Speaking to Neila, we touch on everything from her creative expression, making music, creative inspiration, her brand new EP, and more.

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For people who don't know, how would you introduce yourself,

That's always an interesting question because I'm very multi-faceted; I am first a daughter, a sister, and an auntie. I'm also a singer-songwriter. People would probably put my music into an R&B category, but I do genre-bending; it leans more towards Pop and R&B as a mix. I'm the product of two immigrants. My dad is from Jamaica, and my mom is from Barbados. I'm a multi-faceted artist and singer-songwriter with Caribbean roots.

Being multi-faceted, what would you say have been the roots of your creativity and where that expression began for you?

 I've always been super creative. I've also always known that I wanted to pursue a career as a recording artist since I could speak. I've been on this creative journey as a singer, songwriter, visual artist, creative director, stylist, and everything else. So those things trailed after I realized from a very young age that I wanted to be a singer. I wanted to be on these big stages and perform for thousands of people I've known. Then, the songwriting, the creative directing, the styling- that stuff- came as an extension of wanting to be a recording artist. My parents are super awesome. People usually think of Caribbean or immigrant parents as, like, very strict, but my parents have been one of the biggest driving forces behind why I've even pursued music. So yeah, my whole life, honestly, and I owe a lot of it to my parents, not shutting down my dreams, not showing down my passions, but honestly, pushing me towards doing it.

Who would you say were some of your musical influences?

 I am inspired by, like, a melting pot of artists. I've always loved the Beatles. In middle school, I discovered the Beatles and Jimi Hendrix, and I was involved in learning about Michael Jackson. My mom was a huge Michael Jackson fan, so I got into super old Michael Jackson in middle school. Their freedom and expression have always been a big part of what inspired me. And then the visualization of how they express themselves visually as artists, Jimi Hendrix and his look was like a whole thing, you know, I'm saying like to this day, like people still emulate Jimi Hendrix and how he looks. The Beatles ' self-expression was very colourful, very vibrant, very psychedelic. Michael Jackson is one of the best visual artists we will ever have. So, that started in middle school for me. Then, as time passed, people like Pharrell, Missy Elliot, Tyler The Creator, and people like that have always been sources of inspiration, musically and fashion-wise. I love how they are themselves, blending so many different genres. You can't put any of those people into a box. And they're like little creative geniuses, like on their own.

How did you come to establish and discover your sound and the hybrid of music you would make?

 It took me a while because I am a songwriter, so naturally, I can write almost anything. I was doing that for a while, just like writing to everything. I started to hone in on that, like the sweet spot for me, in 2021 and 2022, and then the project I dropped that felt the most like me authentically was my project. Bite me. And we worked on that for a few years prior. So it was like finding it there, and then with this newer project, Scar kind of like a blend of that, with me being more emotional, a little bit darker in certain aspects. But, yeah, it took me some time.  Many songwriters can write many different things, but not everything is for them.

With your EP Bite Me, which you released last year, and Scars, which came out this year, how do both these projects represent the different sides of your artistry?

Visually, I'm a very colourful person; extra is extra, more is more, and that's my visual aesthetic type. I like the theatrics, like the storytelling, and with my music, with Bite Me and SCARS, I started telling more, taking that visual aspect of me, telling stories, and putting it in the music. I like my beats to hit hard, and I do like 808s, and that's not common in R&B; I like to be cheeky in my lyrics; I have a very pop way of writing, which is a little bit more straightforward and a little bit more play on words. I feel like R&B is very soft sometimes, and I don't always feel that way; I don't feel soft like I do feel like banging on a desk and screaming sometimes. So I think that once I allowed myself to get out of the mind of you're an R&B singer, you have to sing R&B like how everyone sings R&B, I started being more like myself, and that's when my Missy Elliot vibes came in and listening to Pharrell Destiny's Child and it was like, oh, this is fun this feels good. I have a very defiant personality, in the essence of I don't like people telling me what to do. I don't like people trying to control my body and my mind, and everybody should have autonomy over every single part of their life. So that's what my music reflects more now, as I started feeling more confident and not like trying to fit some R&B mould. I just started doing what I liked, what felt good, and what felt more like me. That's where the music and my aesthetic started to match up more.

Speaking of your visual aesthetic, it's a prominent part of your artistry and stands out firmly, even in establishing that aesthetic and building that side of things. Could you elaborate on how you came to create this aesthetic to go with your music? What was the process like and how does it complement your music?

I've always been super attracted to colour, colour extraness, just things that are bold and different. I'm very organized in thinking about things and viewing things, so I made a mood board of what I wanted Neila to look like. Neila is not my birth name; it's alien spelt backwards, so for me, it was like, I get to imagine exactly how I want to look. Like, this is beautiful, this is so cool and so fun. It was like I was building myself in The Sims right now. So I sat down and just made a mood board and put whatever felt good to me on the board. I've always had a powerful sense of self, and that helps me a lot, too, because I don't lean towards what other people are doing or what is trendy; I lean towards what feels good for me. To this day, I make mood boards whenever I have a concept for a project or anything. I make a mood board, and I put things together.

Where do you get your inspiration from?

A lot of my inspiration and ideas come from downloads. My family's very spiritual, and I  grew up knowing how to cleanse the space with incense and stuff like that. So, as an adult, I got into meditation and stuff like that, and I honestly get downloads. A lot of the times I'll pray about something, I'll ask, or like, pray out loud, and it'll just come to me. Visually, when stuff does come to me, I get like, kind of like a vision or an image in my mind and from there, I either draw it out kind of have the image kind out of my mind, and then from there, I'll go searching for real-life images so whether that be on Pinterest which is the only thing I use as far as visual mood board kind of things. But I often like to draw them out, and then again, I also like music videos. I love the early 2000s  and how expressive everyone was. Like Buster Rhymes, Ludacris, and Missy Elliot, again, always Pharell visually. I'll sit down and watch, like, hella of their music video over and repeatedly. So that's kind of how I think I pull in my inspiration.

Speaking on the EP SCARS you put out earlier this year, what would you say it represents about where you are on your journey?

So SCARS came out earlier this year towards the end of summer, and it has five songs, which we released as one song a month. Last November, right while working on the project, my great-grandmother died. She was 96, and even though we knew it was coming, it wrecked my family in a way that I'd never experienced. Like I've never experienced a loss that close in any way. I had the project title before that happened, and when that happened, it felt like everything aligned more. I had a thesis statement that I make for every project for this one; it was that on our journey through life, people, places, and experiences leave their marks on us, and those are the scars we carry. And one mark or one scar we all have is losing somebody. So I found myself related so much more to the project after that loss, and some of the songs like 'Needle and Thread' ended up morphing into something more about, like, the loss of a romantic relationship. But I started writing that after driving back from Florida to Atlanta with my boyfriend, like in the car after her funeral and stuff.

How would you say you had changed from when you first started doing the project to where you are now and everything that has happened since then?

When I dropped Bite Me, the last EP last year, I was very much a bang-on-the-table person. Like, you're not going to disrespect me fuck you type of vibe, that's my personality. I don't like people doing wrong things to people, and so that's very much the space I was in, and I went from being this little angry person who was always like fuck you, to be more like, okay, it's time to heal. I realized that you don't have to say fuck you to everybody, and everything doesn't have to be a fuck type of situation. And, with my grandmother passing away, I think that I still have my edge, and I'm still a very sharp knife, but I don't think the knife needs to be brought out all the time. I am in a healing process and a healing space, and I am just looking at life as being more like, okay, not everything has to be a fight. You're not going to war with everything; these things happen. Somebody can 100% piss you off, but you don't have always to cut them up. And that's where I am now, even working on music; now I'm trying to figure out where I feel where I am because I may fuck your music for a long time. So I think finding out what that sounds like for me, lyrically, and how that feels for me now is different. So, I'm in a transitional stage because I'm no longer the angry person I am.

For people listening to this project for the first time, what do you want them to get from it?

With the project, what I want people to take away is that everyone you come across has experienced something that has left its mark on them. Understanding of cheating everybody, it's easier. We're all healing from something, such as a significant visual aspect of the project; the visuals were band-aids. And when you see a band-aid, you know something is healing underneath it. You know there's a cut, a bruise, a mark, or whatever is healing underneath that band-aid, and we all are healing something. So, I want whoever listens to the project to take it away. It's very quirky. I'm very quirky lyrically, but it's more tells a story about the things that you come along throughout life you pick up these scars from, but I think overall, it is a project about healing, and we all are healing in some way, shape or another.

What are you looking forward to next, having dropped the project? 

I am going on tour, performing more, performing these songs more, seeing how people interact with them in real life, and being able to travel and share my music with people who may be hearing it for the first time. Also, I want to meet fans in real life and hear their stories because being an artist is ultimately a service industry, like we're making music. I know that music has changed my life because of the artists I listen to. Suppose I could positively impact anybody's life. In that case, I'm doing something positive, and so travelling and being able to perform my songs for people and see them in real life, like impacting somebody positively. That's what I'm looking forward to the most.

CREDITS:

Photographer: BANVOA (@banvoa)

Creative Directors: Neila and BANVOA (@neilaofficial and @banvoa)

Graphic Designs: BANVOA (@banvoa)

Makeup Artist: Tatiana Kazana (@tatianakazana)

Hair Stylist: Eboni Wallace (@ebthebeautyplug)

Styling: Neila (@neilaofficial)

Model Coach: Inari Briana (@inaribriana)

Lighting: Inari Briana (@inaribriana)

Interview: Seneo Mwamba (@seneomwamba) 

Special thanks to Tre Native for the location - (@trenative).

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