Since 2012, Tekno has been evolving as a maestro at his craft. From writing Davido's 'If', to co-producing Kizz Daniel's 'Buga (Lo Lo Lo)', and building the legwork dance into a cultural staple before the internet had a name for his style, he’s been scoring feats only expected from pros.. Then, one day in late 2018, he announced that his voice had given out -- and at the peak of his career.  What followed was a 12-hour surgery in the United States, over $2 million in refunded show fees, and months of silence that he has only just recently to speak about publicly. Throughout his ordeal, one thing that kept him going besides the music was his daughter.Now, his third album, Where Did Love Go? arrives as a new chapter in his journey. It’s his first album release with emPawa Africa and a trove of deeper expressions from the 33-year-old crooner. Catching up with Deeds, we spoke about his surgery, his favourite track on the album, what his voice means to him now, and what Billie Eilish calling him her favourite artist actually says about the reach of his music.

Sophia For Deeds: For anyone reading this and discovering you for the first time, how would you introduce yourself?

Someone that loves to live life to the fullest. Music makes me happy.

You wrote “If” for Davido, co-wrote and produced “Buga” for Kizz Daniel, helped build the sonic language of Afrobeats in the 2010s and yet the conversation around your legacy often feels incomplete. Why do you think it may be the case?

It will be complete in due time. I think everything happens naturally. You get me? The story being complete is me as an artist deciding I'm walking away and I don't want to make music anymore. And then we can say, oh, he left it at that. As long as I'm out here still making music in due time the story will be as complete as it needs to because everyone has their own route in it.  So it's like you just let it play out and we all see.

You were diagnosed with muscle tension dysphonia - a condition that robbed you of your voice for months while a fraudulent doctor charged you $1,600 per session telling you that you were recovering. You eventually had a 12-hour robotic surgery in the US and refunded over $2 million in show fees. What was the moment you realised how serious it actually was?

Normally when you perform, you scream while performing, you would have a sore throat and say anywhere from one week to two to three weeks. The sore throat was normal. I think when it was two months, three months, and my throat still felt like, what? What the hell is going on?  That's when I really started getting scared. Something is definitely off. But also on the night of my show in Ghana, when this happened, we were supposed to go out and party that night. But you know like when you just have this weird feeling in your body like something has happened.  But I couldn't really place what happened. I just said, I don't feel okay. I'm good, but I just don't feel right. I don't think I want to go out tonight.  But I didn't realize at this time that my vocal notes had been mashed up. But I think three months, two months to three months is when I realized this thing is not going away. This might be a little more serious than I thought. That's when the fear really kicked in.

You have spoken about contemplating suicide during that period. What kept you going?

My daughter. I don't play with that. There was a time I went two weeks without speaking and to be quiet for two weeks straight. Yeah, it was definitely one of the hardest things I think in the world that really put me to the limit. And to actually go through that and find out there was no improvement. Dude was just lying to me. That right there was what made me like, I want all this to stop. But when I wasn't like getting that whole kid for.  Because we did.  Don't talk for one week.  I went back basically after one week. You wanted me to go two weeks without saying anything. In the process of two weeks without options in the world, bro.

Coming out of that experience, how did it change the way you approach making music - specifically the voice you almost lost?

I think I'll show that in this movie or book or something. There's not enough words for me to describe or elaborate it properly.  I think that would be better told in a book or movie.

Where Did Love Go? is your third album and your first since joining emPawa Africa. Why was now the right time for this project and why emPawa?

emPawa, because Eazi and I are family. Together, you know, but with a contract. I don't know if that word is correct, like just obligations. I had contract wise with the company I was working with before I decided to move to Empire. And with the album, I feel like I just enjoy making music so much and it probably took me a while to realize that. And before the years out releasing another album still. So I feel like that was the kickoff. The next one will be halftime and the following will be full time and it doesn't stop and it keeps going. 

“Wedding Day” is your favourite track on the album. There’s something specific about watching people you’ve performed for at their weddings separate shortly after. How much of this album is personal observation versus something more universal?

I would say Adaeze, but Wedding Day can take it. I won't have a problem with that.  Not someone that's really into marriage that much (laughing) but I would say Adaeze. But like Wedding Day, I can definitely have it for sure.

Personal observation hm, I actually have a friend that it happened to. Two years ago I was at a wedding performance. Before, I used to say make it sound like it's her fault because me and the guy in question were friends. But then someone in the future later told me, "Don't be like that” because you don't know it from her perspective. There's always three sides to a story.  This side, that side, and what actually happened. So in retrospect, I don't know if it was her fault, I don't know if it was his fault. But I was there at the wedding and they didn't even last a year, six months and it was done.

In the world where we live basically, this happens every day. And hearing stories and actually knowing one personally kind of really shapes the idea of where love is right now.

Billie Eilish has called you her favourite artist. What does that kind of recognition from someone outside the African music ecosystem mean to you?

I guess, like, if. If the food is sweet, it's sweet. You get me? It won't matter if you have a Portuguese tongue or a Nigerian tongue or a Jamaican tongue. If the taste is fire, like, it's definitely going to hit them violets. That's basically how I say it. 

Your dancing is as much a part of who you are as your voice - the footwork, the legwork, the effortless movement that was part of your visual identity before Poco Lee and that whole wave made it a full culture. Do you feel like you get enough credit for what you started on the dance floor, the same way the conversation around your musical contributions sometimes falls short?

I feel like I actually do, if I'm being honest, when we talk about just the fans that actually love me that would ask me “when are you gonna do a video where you're just dancing?” We were in the studio session one time, and we had Bankuli and a couple of people, and he had, like, these two artists he was working with. I think one of them is a female, 14 or 16, like, but they're still, like, growing, like training her to, like, you know, grow up. She asked me a question. I said yes. She said, are you still gonna dance and do this and do that? I was just laughing so much.

So I feel like to those that it really matters that they do know it. Also, I'm not the only person dancing on the internet. There's a bunch of people dancing on the Internet, so I'm not gonna try to, you know, want all the glory or the credit to myself. It's like me dancing on the Internet brought a bunch of smiles to a bunch of faces around the world. So for that, I'm satisfied enough with that. So I wouldn't really care as much as who gets the credit, who doesn't get the credit.  Michael Jackson is my biggest inspiration, and he's not even here to get the credit. You get me?  So, yeah, it really doesn't matter.

 So that means if we want to see you dancing, we should watch Pana?

No, no, I got something coming for y’all. Say nothing.  Say less.  Say less.  I have a track coming. It's called NO. In this track, the embodiment of my footwork is there from start to finish.  It's a lovely one. I look forward to that.

As we wrap up - Where Did Love Go? is being described as “slept on.” What do you want people to understand about this album that the streaming numbers might not be saying?

The mistake people make a lot of time is, people want to keep track of everything.

I don't look at it like that. You get me? It's art. Keep making art and keep putting art out. I'm not worried about all that. Like saying, oh, the streaming is this, or the streaming is that. People got a lot going on in their life, and the algorithm has switched from, oh, like, this is beautiful music.  Listen to it. They're looking for trends and they're looking for virality. You get me? The whole world is actually singing music. So, like, to be able to make music and put it out on its own and itself is a blessing.

So if you enjoy the process of what you do, you don't really care too much about all this, because if I specifically did it just for the numbers, streaming and what people have to say about it, other than actually enjoying it, I most likely won't be here making music, to be honest.

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Stonebwoy calls his sound "Afro dancehall" - a blend of Afrobeat, reggae, dancehall, highlife and traditional African styles that he has been refining since he was a teenager in Ashaiman, Ghana. His 2012 debut, Grade 1, introduced an artist fluent in Ghanaian street rhythms and Jamaican dancehall grammar. Three years later, he had clinched honours at notable awards including the Ghana Music Awards and the Black Entertainment Television (BET) award, rising to the limelight of African Pop. Born Livingstone Etse Satekla, the 38-year-old bard has spent over a decade building a musical identity that moves between continents without losing its roots, and a festival - Bless His Imperial Majesty - that has grown from Ghana's biggest artist-led event into one of the country’s biggest cultural exchange arenas with immense global reach. Its eleventh edition arrived at OVO Arena Wembley this August, making Stonebwoy the first Ghanaian artist to headline the iconic venue. Catching up with Deeds Magazine, he spoke about cultural bridges, what collaboration actually requires, and why the music connecting Africa and the Caribbean has always been the same music.

Sophia For Deeds: For anyone reading this and discovering you for the first time, how would you introduce yourself and your music?

I will introduce myself as Livingstone Etse Satekla by birth and Stone boy S T O N E B W O Y as artist name. My music is a combination of music of black origin, you know, all from whether created from Africa or created from the diaspora. Specifically Afrobeats, high life music, reggae music, dancehall music, hip hop music, pop music, traditional musical style.  So that's the fusion of it all. That's how I describe my music.

I coined the term Afro dancehall, which would now become the representation of all these styles that I have since been propagating and been largely known for globally. So once you type ‘Afro dancehall’ out on a search engine, you find out that there's one Stonebwoy who is a pioneer behind that terminology..

You grew up in Ashaiman and built a career that now leads to OVO Arena Wembley. When you trace that journey - what was the moment that changed everything?

The moment when I decided to be very determined.  The moment when I could see in my mind's eye, in my vision platter, that I have a goal to achieve, I can feel it beat strongly inside of my heart.  I can feel the fire burn and know that I am destined to actually contribute to the musical ecosystem of Africa in my era.  That is when I took it all very, very seriously. This has been from inception. I am one of those kids who would realize their talents from a very young age and begin professing it and expressing it. So it just got more serious as the days went by and you know, here we are today and I'm not relenting.

BHIM Festival turned ten in 2025 and now moves to London. When you started it, did you see it becoming what it has become or did it outgrow the original vision?

It is actually what it is because it was fundamentally created to give myself a platform that is befitting of hosting people from all walks of life at the end of every year, so that whatever it is, before the year started, those who would have traveled from the diaspora and returned home, those who would find some time to listen to some good music and some great performance, would all gather together and listen to my style.  The same that I have actually described to you.

Because most dominantly you find out that these are not the type of typical styles that any artist possesses easily, encompassing or putting together all these influences and trying to make them into one sound. So I needed a platform that would continuously give me the time, the freedom to express myself through the audience. 10 years running, and this year is the 11th year. From inception, it was hosted at one of the biggest capacities in the country.  From year one then we knew that was the standard that were supposed to maintain and God being so good, all efforts, etcetera, put together, we have been able to become the single artist led festival that has done the biggest capacities or continued to do the biggest capacity in Ghana, while also bridging the gaps between African music and Caribbean music, most especially music of black origin, because that is the true purpose of the music that we do or that I do. That is the whole vision and mission behind it. So bringing it here in the 11th year in the heart of London for the first time is amazing.  It's the biggest. At the capacity where it's like very.  Where it's like, what do you say?  Iconic, if I can say that or it's an iconic place.

You know, Wembley, OVO arena and still with the same purpose, same energy bridging African music, especially Ghanaian music, with Caribbean style and selling it to the world and creating such an atmosphere that people would be able to continuously identify themselves as who they are and enjoy their own creative in terms of music that comes out.

Headlining OVO Arena Wembley makes you the first Ghanaian artist to do so. What does that specific milestone mean to you personally?

Personally, it makes me feel like I'm dancing to a P-Square song. 

You should get the punchline (laughing)  

Anyway,on a more serious note, the brand Stonebwoy and its team are actually relentless when it comes to breaking the envelope and representing Ghana and Africa. This will not be the first ever milestone that has been broken by the brand Stonebwoy and its associates. The BHIM Fest itself is the only festival that has done two times across Port Stadium 40,000 seater capacity into 50,000 plus twice and done other stadiums across Ghana as well. That on its own is historic right there. So bringing it here in a capacity where it's a taste that is breaking the first time and Ghanaian artists coming in to do the OVO and at this capacity it is just in line. But it will interest you to know that was not part of our plans to be the first. We just realized that is what we have become again, you know.

The London edition brings together African and Caribbean music on one stage. You have spent your career arguing that Africa and the Caribbean share something musically and culturally. What is something you think others still ignore about that cross-cultural connection?

Yeah man, there are a few things that people ignore and those are people who do not seek to know anything about history, anything about roots. To a large extent and primarily they would be denying themselves of self identity and as such you find out that, there is some amount of something missing, when it comes to their self identity. So it is very important for some people, us who actually are born from the motherland, who actually would pay attention to history and read and learn to educate ourselves and also send that information across. We have various forms, we have various media that we can use in today's time to make that communication easy, bringing about the cross cultural connection to be stronger and stronger. 

Because the Caribbean at the last African Union meeting has been agreed to be the seventh region of the African states. So that tells you that we are all definitely also economically one.  Why would it be so? It would be so because the leaders and the political handlers of the Caribbean states, they would actually know better and understand.  When you go to Sudanam, you see the West African culture predominant inside of their living.  When you go to Guyana, when you go to some, I mean when you go to most of the Caribbean countries, you realize how very prominent the African culture is in them.  And all this is carried through DNA's practices that were left uncovered.

It is very important for us black people globally to understand that we have to continue to live in the vision of those who have come and spoken and sacrificed for us, which is the Kwame Nkrumah, the Marcus Garvey, the Martin Luther Kings. And you know, all of this, it doesn't take anything away from us. It doesn't hurt to self identify.  And all that can only be done through creative arts and culture and commerce. So for us who actually are practitioners of creative arts and culture, we want to use the music, the movies, we want to use all aspects, all mediums, you know, to continue to bring together and solidify the bridge of oneness amongst black people globally. And BHIM fest does nothing but that, you know, which is its core mandate.  So yeah, man.  For those who do not really want to recognize that, I wish that they do because without true self identity, there's no fulfillment in existence. Yeah, man.

You blend reggae, dancehall, Afrobeats and Ghanaian sounds in a way that feels natural rather than calculated. Take us inside the studio sessions; what does the process look like?

Yeah, man, the process is a beautiful one. When you, when you dig into a day in the life of Stonebwoy in a studio, it's very interesting that all these influences that are carefully calculated in the mathematical, you know, formula of my DNA, it comes out easily.  You know, I am one time, I'm giving some style that will represent the Caribbean vibe. I'm giving some style that is typically high life. I'm giving some style that is typically reggae. So I would say that to come this far, it's very fluid for me to do. And that is how we continue to enjoy Stone Bwoy style, Stone Bwoy brand. I think it is not entirely alien. It has only built on its style because these styles that I'm referring to, I've always been in the African system. We have legends who have traveled and have done so much in that same context. But what Stone Bwoy has done is to continue it in a light that is even much more, very authentic. To export into the Caribbean audience. Yeah, man.  So that's how I can tell you once when you catch me being creative, it just flows, you know, over the years that I have had experience at what I do.

You've collaborated with Sean Paul, Beenie Man, Burna Boy, Stormzy, Davido, Angélique Kidjo. What does a collaboration actually need, for you to work just beyond two names on a record?

A collaboration definitely goes beyond the two people on a song. It brings the strengths of one artist together with those of another, creating something even more powerful. It also represents unity and brings people together, especially when you have the opportunity to work with one of our elders, like Angélique Kidjo, who has been in the industry for more than 40 years. I had the opportunity to collaborate with her again during her 40th-anniversary concert at the Royal Albert Hall, which was my first time there. It was beautiful to experience that crossover and connect with her audience. Collaboration is something we should always insist on and continue to push for. It reaches far beyond the music. It brings different fans and listeners together and merges different styles. That is what makes it so beautiful.

Afro-dancehall as a sound has been growing, you've been central to that conversation for over a decade. Where do you think the sound is going, and what role does Ghana specifically play in it?

Thank you very much.  The sound has definitely gone global. Not to say it's going global.  It's gone global because it is supposed to be freedom. Afro dancehall is supposed to be the vehicle, you know, that all African artists, which I can give names, who are influenced by music of black origin, especially reggae, dancehall to be able to measure that into their indigenous African styles and express them without apology, because I think 15 years ago, it was not actually cool. It was difficult for an African artist to have the freedom, to be able to expand their creativity, be it being influenced by some reggae, some dancehall, which would have been dominant or which is still dominant in Africa, you know what I'm saying? There was some level of fright, there's some level of segregation that, oh, you are not Jamaican. Why are you trying to?  You know what I'm saying? But then I came in to make them know you do not have to be Jamaican once you are African. You have what it takes equally as a Jamaican, because a large number of Jamaicans, historically, through DNA, whatever, are black people, which you also are. 

Much of the creativity we possess lives in our DNA. It does not exist only in the instruments we play or the drums we beat; it is in our blood. So I can, they can, and all of us can. I have been giving that Afro-dancehall energy and pushing the ideas and teachings behind the sound, and it has created a lot of freedom.

I see it becoming even more global. I recently released a project featuring 16 young, up-and-coming artists whose influences stretch across African music, reggae, dancehall and hip-hop. You should hear how beautifully they express themselves on the record, touching on all these influences at once. It was not always like this. A movement like this will continue to grow, become global and create more freedom.

That freedom is important because creativity thrives in freedom. Without freedom, you cannot create. That is what Afro-dancehall is here to provide: room for people to express themselves freely. That is why I exist and why I can speak my Yoruba, my Ga, my patois and my English. I can sing all of it. [Sings.] You know what I’m saying? Anytime, anyhow; freedom of expression. That is what Afro-dancehall represents.

You were recently at Rema's London listening party. There's a generation of African artists operating at a genuinely global scale right now. What do you think the generation that built the foundation - yourself included, is still owed in that conversation?

I think we deserve the respect, you know, and the honor and that's what is very important.  And the mention, you know what I'm saying? Because it's like honoring your father. It only creates room for you to be honored when you become one. Because as a child today, a father tomorrow, a grandfather, the next time, and a great grand the other time if God gives you life, you know what I'm saying? So if you honor your parents or you honor your elders, you are also going to be honored by the children who will come behind you. So I think what we deserve or what we require is honor because we have made it at least easier for the generation behind. Using Rema as a typical case study. I'm so excited about his new body of work. And all I see, all I hear in the new body of work is Afro Dancehall...(sings Rema’s Tea) It’s like this vibe. Yeah, I told you already, freedom. So when I met him at the other, at the event, it was just beautiful, you know, that would be the third or the second time we are meeting. He always expresses a lot of honor towards me in person and says, Yo OG! I say, I'm too young to be OG now, you see?  So that's it, where we deserve a lot of honor. I'm telling you, the key is that once they bring honor to us, they're going to be honored as well. You know what I'm saying? Because, yeah, that's just it. That's just it. I'm happy and excited to be a part of that school, as you would even mention, you know, that we are still contributing to that effect. 

As we wrap up - beyond the show, what do you want people to understand about this chapter of your career?

God bless you. Beyond the show, this chapter of my career is going to continue to be a global chapter. Most primarily, I want the world to know me for that African child that persistently sent some amount of education, was very proud to be black, not only at colour, but proud to invest in himself as an African child and inspire the next African child wherever they find themselves on the globe.

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Twenty years after he stepped into the Nigerian music industry, Timaya is celebrating a career that has moved from dancehall, reggae, Afrobeats and Nigerian Pop without settling in one box. 

Last Saturday the Bayelsa-born singer marked two decades on stage with a special performance at Indigo, The 02 Arena in London, bringing together the music that carried him from his early days as “Plantain Boy”. 

His solo career began in 2005 when he dropped “Dem Mama”, a song that showed he was willing to confront serious subjects. The record, which addressed the Odi Massacre, became the foundation for his debut album “True Story” which was released the following year. 

“Gift and Grace ”, followed in 2008 before  “De Rebirth”expanded his reach with “Plantain Boy”, a record that cemented his streetwise personality and dancehall-infected sound that became central to his identity.

By the time “Long Life N’ Prosperity ” and “Upgrade” arrived, Timaya had established himself as an artist that is capable of turning everyday Nigerian language, slang and experience into songs and records that were built for movement.

“Upgrade ”, released in 2012 produced “Bum Bum”, one of the songs that became synonymous with his name and got an international remix that featured Jamaican dancehall star, Sean Paul. 

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His 2014 album, “Epiphany” continued the run with Sanko while bringing together collaborations with artists including 2Baba, Olamide, Phyno, Patoranking, Terry G and Sir Shina Peters. The album reflected Timaya’s ability to move between Nigerian pop and Carribean-influenced sounds without losing the identity he had built for himself. 

After several years of singles and collaborations, Timaya returned with Chulo Vibes  in 2019, an EP that featured Burna Boy, Machel Montano and Alikiba. A year later, Gratitude   was born which included “Gra Gra”, “Balance”, “I can’t kill myself”, “Don Dada”,  and “Born To Win”. 

His catalogue continued to grow with Gladiator  , released in 2024. The album had featured collaborations with Tiwa Savage, Olamide, Phyno, Konshens, Enugu and Mr Killa, which included songs like “Get My Money Right”, “Sweet Us ”, “Dey Your Dey ” and “In My Head”. 

Even with the fast changing sounds and beats, Timaya continued releasing music in his own style. His recent catalogue includes “Big Man Ting”, with Skiibi and Teni, Patek with DJ Obi, Odeshi  with Flavour and Yung Alpha and his 2026 single “Only God ”. 

Twenty years in, Timaya’s catalogue tells the story of an artist who has consistently adapted without abandoning the sound that first made him recognized. From Dem Mama, to Bum Bum, Sanko, I Can’t Kill Myself and Only God, the records chart more than just a career, they document sounds and moments that shaped Timaya as a person, brand and career over the last two decades.

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His London anniversary was therefore a celebration of longevity, effort and adaptability.  It was also a reminder of how much music Timaya has posited intro the Nigerian soundscape and how many of his songs have become a part of the soundtrack for 20 years. 

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‘Expansion.’ That’s the recurring remark Kenyan singer-songwriter and producer Njerae emphasizes throughout. Now, with the release of her two latest singles, “On My Own” (featuring KayCyy) and “Let Them Know,” she might be doing just that. 

Since her breakout  hit “Aki Sioni” off her 2022 debut album, Unintentional, Njerae’s natural aptitude to emote infectious tunes have resonated with fans who have dubbed her ‘lover girl’. With three studio albums in, across Afro-indie, R&B and Soul, becoming Kenya’s most streamed female artist last year, and being named among Apple Music’s Rising Class of 2025 is testament that Njerae has earned her mark in the game.

Deeds Magazine caught up with the ‘254’ crooner to chat about her artistry so far, the region’s music industry at home and the ambition to keep expanding her sound further.  

Stanley for Deeds: For anyone reading this and discovering you for the first time, how would you introduce yourself? 

I’m Njerae, a singer-songwriter, producer, and performing artist from Nairobi, Kenya. The OG one and only ‘lover girl.’ My music is geared towards human interaction, but mostly around the love side and the struggles and, you know, the things that come about with being in relationships, both platonic and intimate. I mostly focus on R&B but I am currently in a space where I'm trying to explore more and my two new songs are part of that exploration process. 

Every era of your music has been a slightly different version of you figuring yourself out. What has manifested as your strongest growth?

I think more than anything, music has kind of given me that space to explore my vulnerability and to embrace that as well. Sometimes it can be hard to speak about the things that you want to speak about and for me from ‘Unintentional’ all the way to now, the most important thing is to allow a space where people can feel heard. So I try to write about the things that you wouldn't conventionally stand up in front of people and talk about. It's very in-depth with the emotion and vulnerability; honesty is something that I carry at the top of everything. I think the more honest the music is the more in touch it is with people. From my debut to now I've just been trying to allow myself to think deep into emotion compared to when that era where it was more of just doing this for vibes and whatnot. I’m more intentional with it now.

Where’s the line for you between being vulnerable in your art and protecting Njerae the person?

It's definitely an important thing. I like to protect my personal spaces. There's very many things outside of music that are part of my life that not everybody knows about. I'm not exactly shying away from tapping into that energy but at the same time, I'm also very aware to keep it separate from personal aspects of my life. So I will write a song about something that happened, but I'll keep away from specific details, that will make people get the full story. The whole idea is not for you to feel like the story is about Njerae, but it's about somebody, and it happened to Njerae as well.

Do you think you’ve become better at knowing when to hold on and when to let go of a relationship?

Yes and no. I think I've definitely grown from where I was, just from interactions that I've had even through the music. But at the same time, I still think I'm a human being and I'm still figuring everything out and the whole point of my music is for people to realize that, like, all of us are just in a space where we don't really know what we're doing. We want to seem like we do but we're all going through the same kind of shenanigans and we're trying to figure out. And we shouldn't feel like we're alone because certain problems may feel out of the norm. So the idea is not necessarily to be this kind of portrayed as a person who's 100% perfect and knows what they're doing. Personally, I'm willing to fail just so that I can show other people that you can overcome these things.

With KayCyy, you already had “Far Away,” so I’m curious about what changed between that collaboration and this one in “On My Own”? 

Well, the first time it was definitely like an introduction to each other. We were still trying to figure each other out. I think with “On My Own” now, we've gotten a deeper understanding of each other. And we've also both grown as artists since we did “Far Away.” So in the new song, we're just trying to find a common ground and figure out how these two worlds can meet because KayCyy has his own world that he lives in and I have my own. And the single was kind of like trying to figure out how to bring those two perspectives together.

And “Let Them Know” feels like a different kind of vulnerability. You’ve written about love and heartbreak before, but is there something about the way you approach those emotions now that feels different from your earlier work? 

I think right now it's more like an empowering voice. Before, it was more like, I'm a bit afraid. but the whole point, it's important right now for me, for people to realize that I am in a space where I have chosen to be in this space and I am doing these things because I want to do these things and despite what comes in between, I'm taking charge of and I'm taking control of my situation and the whole idea for both these two songs, is for them to have an empowering feeling rather than a bitter feeling. I feel like most times when it comes to love matters, people come out of it very bitter and they forget that it can be something that can help them grow.

Do you think success has made you more confident creatively, or has it actually made you more self-conscious? It's definitely come with a lot more freedom for me. Before I was in a space where I had to focus on several things at the same time, and now I'm just enjoying being in this space where I can just create and focus on the creation. I don't think I have so many limitations because I have a team behind me that's handling everything. I'm very grateful for the success. Let more of it come, please. [laughs]

What makes you hear a person and think, “I need to make something with them”? Is it the voice, the writing, their personality, or just that inexplicable chemistry?

I love to write from a point of when we know each other and we have a relationship. It's easier that way because the things that we write about are deep and emotional. That's not something that you can do with everyone. So I prefer to write with people who I have a personal connection with. But like I said, the ultimate goal is expansion. So I am open to working with artists and producers from not only Africa, but all over the world. Yes, be it through connection or not, I think it's a beautiful thing to see how these two musical worlds can collaborate with each other. At the end of the day, the whole point is for the music. So it's not necessarily about the relationship all the way. The music that comes out of it is what matters the most for me. 

What has working with other artists taught you about your own sound? 

It's super empowering. We're at a time where all eyes are on East Africa, which is amazing, and I feel honored personally to be a part of that squad that's carrying the Kenyan flag high. It's definitely hard. I think throughout all of my interviews, I've mentioned that I am very introverted and music has been a space for me to like come out of that situation and to open myself up more. So I've been doing that whilst also growing not only as a musician but as a person, which I love. And ultimately the goal is for this music that I'm doing to be like my own kind of therapy, you know. So if it's going to help me in my own personal life, not only in the music aspect, then it's doing a good job.

‍From where you’re sitting, what do you think the Kenyan music industry is doing well – and what are we still seriously getting wrong?

I think that we're in a good place where a lot of people are confident enough to put out their music and have their own shows. It's not something that we'd see a long time ago. I think we're still struggling in the consistency aspect though. That's the one thing that is holding us back from moving to a global stage. But other than that, I like how passionate people are now. It's no longer just about doing music for the money, but people are doing it because they see that it can actually work for them. And we're in a space where creativity is therapeutic to a lot of people. So it's important for mental health and whatnot, like just your daily livelihood.

So it's nice to see that we're in a space where music is embraced a lot more, not just as a career, but, you know, there's people who are doing like they're singing in like hospitals or, you know, they have people who are going to like children homes and they like just engage in like music situations. The whole point is just seeing how many artists are coming out of this industry, is just seeing the impact that music itself is having on the people.

Do you also think we as the Kenyan audience are becoming better at supporting homegrown music or talent, or do the Kenyan artists still have to prove themselves abroad before we fully appreciate them here?

We're at a very good time as artists not only in Kenya, but also East Africa. We're having so many shows that are sold out and it's not from people who are even coming from abroad. It's like our own. We've literally been having concerts weekly that are sold out and you'll be having the same people performing and people will still come out and watch the performances. I believe that we're going up and up. I love the place that we're in, people are listening and we're into more Kenyan music. Even the DJs are pushing out more Kenyan music. Artists are also putting in more work to upgrade their products. And I hope that we're able to maintain that same momentum and see where things go.

You’re also signed with Universal Music East Africa at a point when you’d already built a pretty distinct identity for yourself. What did you refuse to compromise on when you entered that system?

My message and my sound. Those are the two most important things for me to remain. I got signed at a time when 90% of my fans were letting me know how my music was very therapeutic to them. And every single time they listened to it, they just felt nice, refreshed, alive and like they could conquer the world. And for me, it was very important that that feeling is carried on even when I'm in the label. Both of those, especially my sound – the root, the core foundation of where I've come from. Yes, I'm doubling into like different genres and whatnot, but the co-foundation of who Njerae is, is something I don’t think that can change.

Having experienced the industry from several angles – independent artist, major-label artist, songwriter, producer, performer; if you could go back and give the Njerae who was just starting out one piece of brutally honest advice about the music business, what would you tell her?

It's not going to be easy. You're going to want to quit 75 times, but it's going to be so fulfilling. Personally, I'm glad that I've stuck out and I've made it through all these years and that I'm still doing it. The goal is for someone else to see me and think the same thing. I think just to tell her you should have started early, you should have gone through these things a lot earlier. It's not an easy journey, but it is definitely worth it. 

Speaking of fulfillment, you sold-out your first Australian solo tour, which is such a different experience from performing for people who already know your story at home. Did being that far away from Kenya change the way you understood your own music or who your audience actually is?

A hundred percent. I think being here for a long time made me believe that my music is not moving farther than just here. But going to Australia I got to learn a lot of things, not only in the music space, but just to realize myself as an artist. Like I'm a dope person, and I'm doing my due, so I shouldn't be second-guessing myself. And I think that was the most important thing. Now I've come a lot fresher. I am so ready to just release some music. I've been writing a lot of stuff and I'm excited for people to hear as I share my experiences.

You’ve had a lot of things happen recently that look huge on paper – the international touring, the recognition, the AFRIMMA nomination, the numbers. What is something about this stage of your life that actually feels huge to you?

I think my fan responses are usually what get me the most. A lot of people will send me messages, they DM me, I interact with a lot of fans and like shows and stuff and just being able to have that one-on-one, first of all, is super. And just realizing how, aside from the fanbase and everything else, this music actually really speaks to them and it makes them feel good. So, yeah, that's usually the biggest win for me.

Now, looking ahead, you know, what are you actually trying to build, you know, not just the next song, you know, award, album?

Right now, I'm focused on expansion. I am looking to take Njerae to a global stage. So East Africa, outside Africa and we take this Kenyan sound to the rest of the world. The whole idea is pushing these collaborations and working with people that are not necessarily from our industries to just take our culture also to the other side.

You've also spoken quite a bit on some of your dream collaborations with people like Bien and Tems. Is there anything in the works and who’re other people out there that you want to work with?

What I can say is I've had a couple of interactions with some of my dream artist collaborations and their input has definitely made what is coming out right now. I won't really speak on collaborations. I don't have to spill too much tea, but yeah, I have delved into their brains and I've been able to also walk into their world, which is super amazing. Even just having coffee with Bien would finish my life and I'm still on that journey to find Tems. [laughs]

And lastly away from the serious artist questions. If we took away the music, the interviews, the stage and the whole Njerae persona, what is something completely unserious or slightly embarrassing that would immediately expose you as just a normal Kenyan girl?

I think I'd say I'm super clumsy. I bruise easily and I am very clumsy. So yeah, sometimes you'll see marks on my legs, which are just weird, random scars.

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IG:@_stanleyilonzo

All photos courtesy of Njerae/Tofauti Vibes

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For 15 years, the annual Hennessy Cypher has showcased African hip-hop talent across the continent and its diaspora. Each year, it curates a selection of artists representing the new class of rich, diverse talent across the continent.

Since its inception, the cypher has featured Didi B, Maglera Doe Boy, Octopizzo, Blaqbonez, Sarkodie, Zlatan, and M.anifest, among others. Its sonic DNA has evolved with sounds that have grown across the continent, showcasing the music's growth and evolution year after year. This year's class features Suspect 95 from Côte d'Ivoire, Yanga Chief from South Africa, Kwesi Arthur from Ghana, Fena Gitu from Kenya, British-Nigerian rapper Enny from the United Kingdom, and Tenor, who made history as the first artist from Cameroon featured in the cypher.

Produced by Sarz, the track showcases the diverse range of artistry and what each artist brings to the cypher, as creativity from the continent continues to flourish. From Afrobeats to Amapiano, African talent has grown in global reach and dominated over the last few years.

Hip-hop across Africa is vibrant and diverse, spreading from Senegal's Francophone sounds, like Positive Black Soul, to Ghana's highlife influences, like Ebo Taylor, and Southern African artists such as Nasty C and Cassper Nyovest. Each region brings its own individuality, allowing artists to identify and express themselves through poetry, lyrics, instrumentation, and emotion. It also lets them create genres that are unique to their communities and what they represent.

Since its inception in 2011, The Hennessy Cypher has grown into a platform and cultural moment that celebrates a unique class of artists in hip-hop and African music, allowing them to collaborate and express themselves in ways that showcase what they have to offer and represent their heritage across the continent.

This year is no different. In conversations with the featured class of 2026, we explore their love for hip-hop, what it means to represent this class of African talent, how their heritage has shaped their creativity, and the future of African hip-hop.

The Cypher celebrates talents from across the continent. What does it mean to you to represent this class of the Hennessy Cypher?

Sarz: Representing the 2026 Hennessy Cypher for Nigeria meant a lot to me because hip-hop has always been my first love. It was my first entry into music. I loved hip-hop, and listening to so much of it made me develop this love I have for music. So, shout out to hip-hop.

Tenor: It means not only are we reaching a new milestone, but that the focus on the work we do in Africa, and especially in French-speaking Africa in hip hop, is valued. Representing this generation in such an important project is a crowning achievement.

Suspect 95: I’m very proud of that, especially when looking at my own career and all my accomplishments. And I’m proud to bring my culture and colour to what we can now call an “institution” in African Hip Hop.

Yanga: I think it shows the self-belief that I’ve always carried in my style. There are seasons in rap where certain styles are the trend, but for me I’ve always just had my own unique approach. It’s allowed me to stay unpredictable; this Cypher was an opportunity to share that signature flow with the rest of the continent.

Where did your love for hip-hop start?

Fena Gitu: I grew up around hip-hop. Buruburu in the ’90s was one of Nairobi’s coolest cultural hubs, especially during the rise of matatu culture. I grew up in the heart of 58, absorbing everything from the rap flows and street language to the fashion and attitude. I sang and rapped in school, sharpening my skill behind the mic.

Kwesi Arthur: My love for hip-hop started in my grandmother’s house in Tema, Ghana. My uncle had a Life After Death CD, which I remember as the first hip-hop album I ever listened to. I also constantly heard hip-hop mixes on the radio, from Tupac to Obrafour, Kwaw Kese, Kwade, etc. I used to listen to Kasahare on the radio a lot too, around when Sarkodie started. I’ve been tapped in since then. My love for it extends to all its subgenres, its art, fashion, and more.​

What would you say has influenced your musical style?

Sarz: A lot of things passively, hip-hop being one of them, and African music my dad used to listen to a lot of Ebenezer Obey, Fela, and King Sunny Ade. I think, subconsciously, that created a mix of things I listened to, which was hip-hop, and things I heard passively, which was African music.

Suspect: I’m influenced by Ivorian culture, which is a very strong culture, my environment of course and the places where I grew up: Cocody, Blockhaus in Abidjan.

Fena: My style has been shaped by curiosity and by how unpredictable music can be. I have never wanted to be confined to one sound, so I draw from hip-hop, R&B, neo-soul, Afro-fusion and the rhythms around me. I am always exploring what else I can do while protecting the signature.

Tenor: Cameroonian music in general​

How much of your heritage has impacted your style of music?

Fena: Deeply. I was born and raised in Nairobi, and the city’s sound, language, pace and cultural mix are embedded in my music. Travelling from a young age also exposed me to different people and sounds, giving me a wider perspective. My music comes from Nairobi, but stays curious about the world.

Kwesi: A big piece of it is inspired by my heritage. What I talk about, the way I say what I say, choice of instruments, etc., it’s all Ghana.

When you think about hip-hop talent across the continent, what do you think is one thing that makes it stand out in terms of showcasing what different parts of the continent have to offer?

Fena: The diversity and the elegance. How far we have evolved. There is so much beauty in how differently we express ourselves across the continent, but also a real sense of unity.

Tenor: What truly distinguishes African talent is its cultural richness and diversity. It has an incomparable origin and purity. We feel the true cradle of humanity.

What inspires your creative process?

Sarz: Anything. I'm inspired by ideas, sometimes by ideas that do not exist. I'm inspired by things I like, and I fuse genres. I'm inspired by peace, and other people's music inspires me. It could be anything.

Fena: My creative process is spontaneous, even though lately it is often shaped by active projects and deadlines, with less room to wander than I had before. Even then, I still leave space for instinct, experimentation and surprise. That allows me to preserve the signature Fenamenal flow and explore.

How do you feel about where African hip-hop is, and what are you excited about in the future?

Sarz: There's new talent always coming in, and I'm excited to see where they take hip-hop and how they fuse it with being African and our African genres and instruments, and make something unique that might change the world.

Tenor: African hip hop continues to make its way, and it can be felt. Diversity is a real asset. I am enthusiastic about the impact I know it will have worldwide. People are increasingly discovering incredible performances in every sense of the word concerning us.

Yanga Chief: I think it’s in safe hands. We need to let it evolve and become what it wants to. As long as it continues to represent us and our stories, I feel like it can keep growing in ways we can’t predict.

Suspect: African Hip Hop is a strong musical genre and has many amazing artists to make it grow again. I’m excited to see how African hip hop adapts to this new era with AI and stuff to become even stronger.

Fena: We have come a long way to have African hip-hop on global platforms such as this. It shows that Africa is NOW, and Africa is the future. I am excited to see more collaboration across the continent that pushes forward a positive narrative of Africa. The world is watching, and this is our opportunity to put ourselves firmly among the global greats. Hip-hop never dies. Hip-hop takes her time, perfects her craft and stands the test of time.

Kwesi: It’s exciting to see where African hip-hop is today. I love that it’s more accepted among our people now than it used to be years ago. I feel we have found a way to make it in our own authentic way. The growth in sound and its diversity is exciting to see, too.

ENNY: I think it shows how African hip hop is constantly evolving and refining. Language is not a barrier and feeling is universal. There are so many different sounds, cultures and perspectives within African music and hip hop. I think the Cypher is a really good example of how all of those things can exist alongside each other. You don’t necessarily need to understand every word to understand the energy or connect with what someone is saying. I think that’s what makes it exciting, there isn’t one direction it has to go in.

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For most of 2026, Zendaya has been living in several different versions of Hollywood at once. She opened the year with The Drama, a dark relationship comedy from Kristoffer Borgli. She returned to Euphoria for its third and final season. She played Athena in Christopher Nolan's The Odyssey. She came back as MJ in Spider-Man: Brand New Day. Dune: Part Three is still coming in December. The projects could hardly be more different. -Their range makes Zendaya’s 2026 especially interesting: the contexts keep changing, and she remains the most reliable presence in each. 

Taken together, these roles make the idea of a recognisable or typecasted ‘Zendaya role’ increasingly difficult to sustain. 

The Drama was an unusual place to start. Borgli's film cast her opposite Robert Pattinson as a couple whose engagement unravels after a revelation, and the role asked her to be genuinely hard to read. Zendaya has built much of her public image on familiarity and control- the Disney years, the carefully managed red-carpet presence, the franchise roles that gave audiences a clear version of her to follow. Emma, the character she plays in The Drama, offers none of that. The film itself divided critics, but Zendaya and Pattinson were consistently identified as its strongest elements.

Euphoria returning after four years off the air was always going to be complicated. The third season moved its characters into their twenties and away from the high school setting that defined the first two. The critical response was divided - Variety called it "entertaining but disjointed fan fiction," the Hollywood Reporter described the season as "uneven," and the show's Rotten Tomatoes score settled at 43 percent, significantly lower than previous seasons. The recurring observation across reviews was that the show's signature chaos, which had felt raw and dangerous when it was happening to teenagers, lost some of its charge when applied to characters in their mid-twenties. Sam Levinson's maximalism no longer had adolescence to justify it.

Reviews frequently separated their assessment of Zendaya from their assessment of the season.  Collider wrote that she "instantly reminds you why she's won two Emmys." The Hollywood Reporter placed her Rue Bennett "immediately adjacent" to television's most compelling antiheroes. The Cinema Group described her performance as "both controlled and instinctive, capable of meeting the tonal extremes around her without losing emotional clarity."  Her Emmy nomination for the role, announced in July, gave her the chance to become the first Black woman and the youngest performer to win Outstanding Lead Actress in a Drama Series three times. 

The Odyssey put her somewhere else entirely. Nolan's adaptation of Homer's epic is one of the major cinema events of the year, and Zendaya plays Athena alongside Matt Damon, Tom Holland and Anne Hathaway. She is not the film's centre.  The interesting thing about  her position in the ensemble is that it no longer needs to be. The actress who spent years proving she could carry a project has reached a point where her presence in a film shapes how audiences approach it, regardless of her screen time. That became clearer again with Spider-Man: Brand New Day. The film picks up after Peter Parker sacrifices his relationships by having the world forget he exists, which means MJ has no memory of him or their history. Zendaya is playing a character audiences feel they know, while inhabiting a version of MJ who no longer shares their knowledge of her history.  

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Running alongside all of this is the fashion work, which by 2026 has become its own category of cultural event. Law Roach and Zendaya have spent years developing what is commonly called "method dressing" - building press tour wardrobes that respond to the films being promoted rather than simply to the season's trends. For The Drama, they committed to a bridal coding across the entire press run. For The Drama, they carried a bridal theme through the press tour: a Schiaparelli Haute Couture gown made from 65,000 blue and black raw-silk feathers at the New York premiere; an all-white Francesco Scognamiglio Couture look for daytime press; and a custom Louis Vuitton gown with an oversized black bow at the Paris premiere.  WithDune: Part Three's CinemaCon appearance in April, Roach pulled a body-moulded Schiaparelli skirt suit in sand-coloured textured fabric.. The logic running through all of it is the same one that produced the vintage Mugler robot suit for Dune: Part Two and the tennis whites for Challengers: the clothes are doing promotional work that interviews and trailers cannot. A red carpet look circulates before a film has been seen by anyone, giving audiences a relationship with the project before it is released..

Dune: Part Three arrives in December. Denis Villeneuve's adaptation of Dune Messiah picks up seventeen years after Part Two, giving Zendaya a Chani whose relationship with Paul Atreides has become considerably more complicated. It will be her fourth film release and fifth major screen project of the year. 

Her 2026 has not been uniformly successful. Euphoria drew widespread criticism, The Drama divided critics, and some reviews found Spider-Man: Brand New Day overstuffed and MJ underused.  What has not happened is that any of those projects dragged her reputation with them. Her performances have been judged separately from the productions containing them—a position most actors spend entire careers trying to reach. She is 29. She has been working professionally since she was a teenager. What 2026 has demonstrated so far, more than any single performance, is that she has built a reputation durable enough to survive an uneven season. 

IG: sophiannadozie

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Victony has officially stepped into his sophomore era, proving that his global breakthrough was only the beginning. STARLIFE represents a critical evolution in modern Afropop a project where the Nigerian superstar takes full artistic control, writing and producing across a genre-bending landscape that blends Afrobeats, R&B, rock, techno, and retro nostalgia. Having followed his trajectory closely as he transformed from a rising talent into a visionary sonic architect, experiencing this 15-track album firsthand reveals a artist fearlessly bridging traditional African rhythms with futuristic global sounds.

This body of work pushes further into experimentation with immersive production, elastic rhythms, playful songwriting, and an effortless cool. Supported by guest appearances from FOLA, BNXN, Young Jonn, Blaqbonez, and YKB, the album showcases a superstar who refuses to be boxed into a single sound.

The sonic journey begins smoothly before shifting gears directly onto the dance floor. The opening highlight, "Too Lit," sets the stage with kinetic electricity, powered by melodic 80s-inspired synths and vintage arrangements that instantly establish the album's energetic atmosphere. As the record progresses, Victony weaves through lush string instruments, dynamic percussion, and classic 80s and 90s guitar riffs. By the time track six, "Frne," drops, the transition to high-energy club anthems is complete the instant the beat hits, it transports listeners straight into the center of a crowded dance floor.

Victony’s vocal range remains one of his strongest assets, shifting effortlessly from a velvety, smoky mid-range to high, dreamy melodies that balance lover-boy charm with undeniable swagger. This dynamic delivery shines brightest on "Slick," where his lustrous tone pairs flawlessly with the beat to create an irresistible, seductive energy. It is the ultimate pre-game anthem a song built for getting ready before a night out and guaranteeing all eyes are on you when it hits the speakers.

That supreme confidence continues on "2Fresh," led by smooth delivery and sharp swagger, while "Armed" shifts gears into a mesmerizing, hypnotic trance created by atmospheric melodies and driving drums. As the album moves into a more melodic close, "Missing Piece" caters directly to lovers, delivering an intimate, heartfelt ode to keeping the one close to you.

I am thoroughly impressed by this elevated body of work the sharp writing, the rich instrumentation, the expansive vocal range, and the seamless features all converge to create something exceptional. It is an absolute must-listen from start to finish. With STARLIFE, Victony delivers a versatile, genre-defying masterpiece that captures the pulse of modern music while honoring timeless influences.

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Nigerian rap has never had a shortage of talent. What it has had is a shortage of  infrastructure - the kind that takes a rapper from a dimly lit bedroom in central Lagos to a global stage with a live band, in front of an audience that showed up specifically to listen. 

Ola Blackz understands this gap better than most. He is a percussionist and drummer who fell in love with hip-hop, and the combination produced something neither world could have built alone: GLSessions, a live music platform dedicated to discovering, developing and showcasing Nigeria's emerging rap talent through the specific energy of live instrumentation.

The platform operates on a simple premise;rap music heard liveis a fundamentally different experience from the same music heard through a speaker. The cypher format, the freestyle session, the collaborative performance with live percussion and rhythm are statements about what music can do when it is allowed to be visceral. Nigeria has had cypher culture for years, most visibly through the Hennessy Cyphers that have been running since 2015, but GLSessions approaches the format as a creative hub where artists can sharpen their craft, gain visibility, and exist within a community of musicians who are genuinely invested in each other's growth.

The mainstream conversation around Nigerian music has been dominated by Afrobeats for over a decade. But rap has never stopped existing in Nigeria. It has existed in studios, in underground shows, in cyphers, in the work of artists who kept going despite the absence of the kind of platforms that make careers legible to wider audiences. GLSessions exists  to make that work visible, and to provide the conditions it needs to grow on its own terms.

The live instrumentation dimension is the most distinctive thing about what Ola Blackz brings to this space. As a percussionist, he understands rhythm from the inside. That perspective shapes how GLSessions stages its sessions, the energy it creates in a room, the specific way it documents what happens when a rapper's verse lands against live drums in real time. The vision that drives all of this is straightforward: every talented rapper deserves a stage, a platform, and an opportunity to be heard. That commitment seems  more radical than it sounds. In all, Ola Blackz is building GLSessions for the rappers who are still finding their path, because they too matter. 

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IG: sophiannadozie

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Nigerian Pop fusionist Victony has been tenderly evolving since 2016  --  freestyles on SoundCloud, covers of Cardi B and Burna Boy, a small online community that kept growing. The lockdown of 2020 pushed him toward his singing voice, a side of himself his producers had always noticed but he had never fully leaned into. His 2022 opus, Soweto introduced him to the world. Two years later, his debut album Stubborn gave that world more to hold onto. Now, with FRE$H and SLICK already out and a mixtape called Starlife dropping August 21, the young bard is in a period he describes as "just vibes." Born Anthony Ebuka, Victony is an artist in full possession of himself and Starlife is where that shows most clearly. Catching up with Deeds Magazine, we spoke about his evolution, the current state of Afrobeats, and the world he is building with Starlife. 

Sophia for Deeds: For anyone reading this and discovering you for the first time, how would you introduce yourself?

I'm Ebuka Anthony, aka Victony. A young artist from Lagos, Nigeria.I grew up in Ojo, Lagos. I'm an upcoming creative director - I'm mastering that on the loop. 

You started as a rapper on SoundCloud in 2016, covering Cardi B and Burna Boy, and somewhere along the way you became one of the most distinctive voices in Afrobeats. When did you realise the rapper was becoming something else?

It was like 2020. Before then I used to do Instagram freestyles and I had a small online community. I'd put up covers every now and then. Then 2020 came - lockdown and I guess that was a different time in everyone's life. Out of boredom, we were forced to try something different. So I explored my singing side. My producers always told me I had a good voice - once in a while I'd do hooks, and one of my first releases, 'Sing My Song', I sang on it. But I never just thought I would be a singer. Then in 2020 I started trying more singing, started getting comfortable with it, and the rest from there has been history.

When FRE$H was being teased, people saw Blaqbonez in the studio video and immediately assumed there was a feature. What was going through your mind watching all of that play out before the song dropped?

I don't know why people thought it was a feature. I really can't control how fans think. Obviously I wanted it to be a proper release and at the time I just wasn't ready to put it out. If you follow me closely, you know I tease music when I don't have music out, just to entertain the fans. It doesn't necessarily mean I want to put it out. FRE$H just happened to demand at the time - I didn't anticipate it. When the time was right, I eventually put it out.

Soweto made a name outside Nigeria - TikTok, UK charts, the remix with Rema and Don Toliver. Did that moment change how you think about who you're making music for?

No. Not at all. Even at the time when I released it, I was still discovering myself, growing a relationship with my audience, knowing what my pocket truly is - because I'm a versatile artist. From Soweto till now, it's still been a learning process for me.

People have a lot of opinions about where Afrobeats is headed right now. What's your take on the state of the sound?

I think it's progressing into something new. With the emergence of so many new artists in this scene right now that are just extremely bold and confident, and even us - household names - finding new pockets and pushing it forward. It's moulding into something beautiful. It's going to be in a state we've never seen it in before. It's not going to be the usual monopoly where it's just Wizkid or Davido or Burna or Rema. Everyone is starting to have their own fan base, which is beautiful to see. The listeners are also having a mind of their own - people are finding their style and sticking to it. I've seen so many new artists with new sounds, in different pockets, growing their communities. This is happening here in Nigeria and this is Afrobeats. I'm curious to see what it moves into, but I'm positive about the results.

Starlife drops August 21. Give us an insight into what the mixtape is actually about - what world are you building with it?

Freedom. Authenticity. I'm actually just having fun. This is one of the projects I took very seriously and at the same time didn't take very seriously. Making sure the sound, the production, my delivery - it's top notch. But it's also very witty and playful. I don't think I've ever been this playful before, this carefree, genuinely enjoying myself. Starlife just shows growth. It shows me fully confident in my own skin. It shows authenticity, maturity, me just talking about the things that I like. It's Victor they haven't seen before.

The Odumodublvck and Blaqbonez beef was one of the biggest conversations in Nigerian hip-hop recently. As someone in the music space, how do you navigate that kind of tension - do you think beef is good or bad for the culture?

To be honest, Odumodublvck and Blaqbonez are two people I know, really nice guys. I think the misunderstanding has just been blown out of proportion and I just hope one day they figure it out. It's between both of them. I know both guys and I think it's a very huge misunderstanding on both ends.

You've worked with artists like Rema, Don Toliver, Asake, Burna Boy and SAINt JHN across your career. At this point, is there anyone you genuinely wish you could get in the studio with, locally or internationally, that hasn't happened yet?

I want to make music with anybody that just does something different. I'm really just experimenting. I don't really have that one person. Obviously I've always wanted to make music with Drake - that's one of my biggest inspirations, so that doesn't change. But I'm also open to diving into different worlds and seeing what comes out of it. Old, young, new. I'm open to collaborating with people that I really like.

Are there any upcoming visuals, tour dates or projects in the pipeline beyond Starlife that people should keep an eye out for?

I have a few shows coming up in the US and Canada. I have Afroplus in September as well. Possibly some headline concerts in Europe and America. For sure, Bonfire this year - that's an annual thing I do. And definitely the project visuals. Just fun times.

What motivates you?

Just feeling purposeful. That's been my biggest motivation right now - truly finding what my purpose is. I feel like one way to do that is utilizing my talents to the max. Every day I go hard, every day I'm creating. I want to find what my purpose truly is. I'm just enjoying the journey and trying to feel purposeful every day.

So bumbum is no longer part of the motivation?

(laughs) We like it though.

As we wrap up, what do you want people to understand about this period of your career that the music alone might not be saying?

I don't think there's anything deep. I feel like people get it and if you don't get it, I don't know. At this moment, it's just vibes.

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IG;@sophiannadozie

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What Happened to Nike? The Swoosh Is Fighting for Its Place in Culture Again

Nike is having one of the most difficult moments in its modern history.

On August 17, its stock closed at its lowest level since 2014. Shares are now roughly 78% below Nike’s 2021 all-time high, while the company’s market value has fallen to around $58 billion.

For a company that has spent decades operating as something bigger than sportswear, that drop is difficult to ignore.

But the stock price is only the headline.

The more interesting question is how Nike — the company behind Jordan, Air Max, Dunks, some of football’s most memorable kits and generations of era-defining advertising — ended up here.

There isn’t one answer. There are several.

Nike bet too heavily on going direct

For years, Nike wanted more control.

The company pushed consumers toward Nike.com, SNKRS and its own stores while reducing its dependence on traditional wholesale partners.

The logic was clear: own the customer relationship, own the data, keep more of the sale.

The problem was that retailers were doing more than selling Nike shoes. They were putting Nike in front of people.

When Nike pulled back, competitors gained valuable shelf space and visibility.

That strategy is now being corrected. In Nike’s latest quarter, wholesale revenue rose 4% to $6.6 billion, while Nike Direct fell 7% and Nike Brand Digital dropped 12%.

Nike is effectively rebuilding parts of the distribution network it once deliberately reduced.

Too much of a good thing became too much

Nike owns silhouettes other brands would spend billions trying to create.

The Air Force 1. Dunk. Air Jordan 1.

But heritage can become a weakness when it is asked to do too much.

Over the last few years, some of Nike’s most recognisable franchises became almost impossible to escape. More colourways. More releases. More availability.

Products once powered by scarcity started feeling increasingly familiar.

That does not mean people stopped buying Nike. Nike still generated $46.4 billion in revenue in fiscal 2026.

The issue is heat.

For decades Nike was exceptional at producing the feeling that its next shoe, athlete or campaign was something you needed to pay attention to.

That feeling became less automatic as familiar franchises flooded the marketplace and competitors produced genuinely desirable alternatives.

The rest of the industry got better

Nike didn't suddenly forget how to make sneakers.

Everyone else improved.

On and Hoka have disrupted performance running. New Balance has moved comfortably between sport, fashion and street culture. ASICS and Salomon have found new audiences. Adidas has continued fighting for lifestyle relevance.

Nike was already losing market-share momentum to brands such as On and Hoka when its stock suffered its then-worst-ever single-day fall in 2024.

This matters because the modern consumer doesn't need one sportswear brand to do everything anymore.

A running shoe can come from On.

A fashion shoe can be Salomon.

A grey New Balance can become an everyday uniform.

An Adidas silhouette can suddenly become the shoe of the summer.

Nike is still enormous. What has disappeared is the assumption that Nike automatically wins every conversation.

Then there is China

If there is one part of Nike’s problem that can be seen clearly in the numbers, it is Greater China.

In Nike’s latest quarter, sales there fell 17% on a currency-neutral basis, continuing a prolonged period of weakness. Reuters reported that the company expects challenges in the region to persist as it works through inventory, competition and changing consumer demand.

At the same time, Chinese sportswear companies have become much stronger.

Anta, Li-Ning, Xtep, 361 Degrees and Zhongqiao are no longer simply cheaper alternatives to Western brands. They are developing their own technologies, athletes, identities and increasingly sophisticated relationships with Chinese consumers.

Nike’s sales in China have now declined for eight consecutive quarters.

A market that once represented one of Nike’s most exciting growth stories has become one of its hardest problems.

Nike is rebuilding while everyone else keeps moving

Elliott Hill returned to Nike as CEO in 2024.

His response has been telling.

Nike has reorganised itself around sport again — running, basketball, football and other disciplines — through what it calls its “Sport Offense.” The idea is to bring athlete insight, product innovation and storytelling back closer together.

Wholesale is growing again. North America has shown improvement. New footwear is entering the pipeline.

But turnarounds don't happen in isolation.

Nike is trying to regain momentum while dealing with aggressive competition, pressure in China, tariffs, inventory issues and cautious consumers. The company has warned that weakness could continue into the first half of fiscal 2027.

That is why investors remain unconvinced.

The bigger problem is the aura

And this is where the Nike story becomes more interesting than its stock chart.

Nike’s superpower was never simply scale.

It understood how to take sport and turn it into culture.

Michael Jordan wasn't simply an endorsement.

Air Jordan became its own universe.

Air Max travelled from performance running into London, Paris, Amsterdam and street culture around the world.

Nike football campaigns made commercials feel like cultural events.

Virgil Abloh took ten familiar Nike silhouettes and made an entire generation look at them differently.

For decades, Nike had an unusual ability to take something functional and make it feel mythological.

The company has not completely lost that ability.

But it no longer possesses the cultural field almost by default.

Fashion moves faster. Sneaker communities are more fragmented. Performance consumers have more credible choices. Local brands have become stronger. Young consumers can discover the next object of desire without Nike being anywhere near it.

That distinction matters.

Nike has not become irrelevant. It has become less inevitable.

And those are two very different things.

At $46.4 billion in annual revenue, Nike isn't disappearing tomorrow.

The real challenge facing Elliott Hill is bigger than getting Wall Street excited again.

Nike has to make great products.

It has to repair the marketplace.

It has to solve China.

It has to give consumers reasons to care about something beyond another familiar silhouette.

And, perhaps hardest of all, it has to rediscover the thing that made the Swoosh so powerful in the first place,

the ability to make sport feel like the centre of culture.

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For a company that thrives on nostalgia, Disney knows how to make the past feel spectacularly new. That was the clearest message from the latest D23: The Ultimate Disney Fan Event 2026, where a gathering of Disney Princess performers celebrated the company's legacy before the weekend turned toward its next generation of blockbusters.

D23 is essentially Disney's biggest showcase. It is a biennial gathering where the entertainment giant looks back at the characters and stories that built its cultural empire while teasing its next chapter. Named after 1923, the year Walt Disney founded his first studio, the event brings together Disney Animation, Pixar, Marvel, Lucasfilm and Disney+ for a weekend of announcements, performances and fan celebrations.

Disney Princess: The Ultimate Concert Celebration brought together performers from across Disney’s animated, live-action and stage history at Disney California Adventure last Thursday ahead of the main D23 event. Brandy, Halle Bailey, Jodi Benson, Anika Noni Rose, Auliʻi Cravalho, Paige O’Hara and other performers associated with Disney Princesses took the stage for a celebration Disney billed as the largest gathering of Disney Princess talent ever assembled.

The lineup represented several generations of Disney storytelling. Bailey, who played Ariel in the 2023 live-action The Little Mermaid, shared the stage with Benson, who voiced the character Ariel in the 1989 animated classic. O’Hara, the voice of Belle in Beauty and the Beast, appeared alongside Susan Egan, who originated Belle in the Broadway musical, while Cravalho and Catherine Lagaʻaia represented two generations of Moana. The concert celebrated where Disney has been and clarified its next direction. 

Also, Marvel Studios closed out the showcase with the long-awaited reveal of its new X-Men cast. Sadie Sink will play Jean Grey, Kit Connor as Cyclops, Christopher Abbott portrays Professor X, with Maya Boyd coming in as Storm.Inde Navarrette will play Rogue, Samara Weaving will portray Emma Frost and Adam Driver will play Mister Sinister. The film is currently scheduled for release in May 2028. Marvel also showed more trailers of the upcoming Avengers: Doomsday, while Disney+ announced its new miniseries VisionQuest, starring Paul Bettany and James Spader, for October 14.

Meanwhile, Lucasfilm offered a first look at Star Wars: Starfighter, starring Ryan Gosling. Set after The Rise of Skywalker, the film is scheduled for release in 2027, arriving as  the latest attempt to push the Star Wars universe into stories beyond the original Skywalker saga. Disney Animation and Pixar were equally committed to familiar names. Fan-favorites such as Frozen 3 is set for release in November 2027, with Disney teasing Anna and Kristoff’s wedding and a new female antagonist. Pixar announced Incredibles 3 for summer 2028 and Coco 2 for November 2029, while Zootopia 3 is in development, following the blockbuster success of last year’s Zootopia 2. 

The nostalgia continued with Disney’s live-action Tangled adaptation, which received a first look at D23. Fans were introduced to Kathryn Hahn’s take on Mother Gothel, bringing a new live-action interpretation to one of the more memorable villains in Disney’s modern animated canon. The reveal is another example of Disney revisiting its catalogue while recasting familiar characters for a new generation.

Finally, the weekend also brought the announcement of a Bluey movie and a new project featuring Disney’s early animation character Oswald the Lucky Rabbit, further expanding Disney’s already enormous franchise pipeline. What made D23 notable, however, wasn't simply the number of film release announcements. It was the way Disney connected them. The princess concert was a celebration of the performers and characters that have shaped Disney for decades. Hours later, the company was introducing the characters it hopes will define its next era. From Cinderella and Ariel to Jean Grey, Mother Gothel and the next generation of Pixar heroes, D23 showed how Disney continues to harness the cultural currency of nostalgia.  

IG: _stanleykilonzo

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Ayra Starr dropped Starrgirl today and spent the lead-up to it counting down from a hospital bed, which for an album rollout is not the kind of commitment you see every week. The week had more going on. Here is what else deserved attention.

Ayra Starr dropped Starrgirl 

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Starrgirl dropped today. The album, spanning sixteen tracks, with guest features from Wizkid, Rema, ZAYN and Leon Thomas, seems to be a new chapter in Ayra’s journey. Even before its release, the purple gele on the cover had inspired people online to film themselves tying their own.  She has described the project as being about existing in multitudes, and the tracklist backs that idea up:a Wizkid duet sits next to a ZAYN ballad and Rema’s appearance on "Who's Dat Girl." Early reviews keep calling it her most complete work. That's a better compliment than "biggest."

Meji Meji Takes On New York In  North American Tour

Meji Meji began itsNorth American Tour, Home Is Not One Place, with eight stops scheduled between Houston in June and Washington D.C.. in September. The routes changed when several dates were postponed  mid-tour. The brand directly apologized to fans directly saying it needed time to put the "the necessary provisions” in place.  Atlanta resumed the journey on July 26 at Haus 419 under the theme Home Is Within Us. Toronto followed on Aug. 2 at The Annex Hotel’s lobby bar. Held during Caribana for the second consecutive year, the stop carried the theme Home in the Rhythm. New York is the tour’s current destination, teased through Instagram Stories, with Minneapolis, Los Angeles and Washington DC still on the schedule.. For the Minneapolis stop on Aug. 22, Meji Meji partnered with Samambo World for a cruise down Hennepin Avenue and created an exclusive piece for the city. Tolu Oye founded Meji Meji aroundNollywood graphics and Y2K silhouettes. The brand has picked up partnerships with Nordstrom, Topicals and Nike along the way, expanding its reach. Every tour caption runs through a maternal voice the brand calls Mama, which turns a pop-up tour into something closer to a family visiting each city in turn.

JT Keeps Picking Brands That Actually Fit Her

Topicals just added JT to its Faded lineup, fronting the new Dark Spot Peel Pads under the hashtag #FadedByAnyMeans. It's a multi-acid and retinol pad, out now on the topicals website and Sephora. Topicals has built its identity on working with Black women who use the products they're promoting, and JT reads as an actual fit, not a paid detour. The brand talks about skin conditions and mental health in the same breath, which is still rare for skincare marketing that usually keeps those two things apart.

OB70 Slipped a Womenswear Line Into Its Beach Collection

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OB70 made its name on Lekki streetwear.  It was founded by ClassyKinging who named the label after a childhood nickname from his father's 70th birthday. This month, the brand released Expansion Pack, a collection built around beach afternoons and Lagos coastal light -- bright and sun-soaked in a way that reads like heat rather than describing it. Inside that same drop sits OB70 Babes, the brand's first womenswear line, carrying the same colors and cuts as the men's pieces it was folded into rather than launching as its own separate rollout.

Old Navy Made Itself Look Expensive

Cardi B frontsOld Navy's "Most Wanted Denim" campaign with Wisdom Kaye, Quen Blackwell, Paloma Elsesser, Brooks Nader and Haley Baylee.  Shot on a desert set, the campaign borrows the visual language of a Western. It is the second chapter in Old Navy’s “It’s Old Navy” series, which began with Paris Hilton earlier this summer. The clothes moved quickly after the campaign launched, with several washes selling out soon afterwards. Cardi B also talked about growing up shopping there for Fourth of July outfits, which does more marketing work than a slogan could. It's rare to watch a mall brand borrow luxury pacing, a cast, a set, a story, without the price tag following it there. The jeans start at $22.The campaign also arrived during the week “WAP” earned Diamond certification, becoming Cardi’s fourth single to reach the milestone. August is simply confirming things about Cardi that were already clear.  

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                                                                                                          IG; sophiannadozie

PS Hitsquad has been making waves in UK drill. His debut album, Life on License, is a body of work that offers deep insight into his life. The 16-track project brings together various elements of his musical influences, not to mention pushing outside of what one would expect from the Drill Rapper.

As somebody who has lived a lot of life and has a lot of stories to tell, the album documents his growth journey and everything that has led him to this moment in his career. He is never one to shy away from the experiences he has been through. Across the album, you can pick up on everything he has to say, and his delivery comes through solidly across the 16 tracks.

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With a newly announced tour, he is set to take stages where he will bring the album to life. Before then, we caught up with the rapper to discuss the new album, the process of making it, his artistic journey and more.

You put out your debut album Life on License; how has it felt having that out in the world?

It feels amazing. I always love showing the people what I’ve cooked up, especially because there are so many new sounds/genres on this one compared to others.

When did the process begin for you to start making this album?

It’s been years in the making. I’d even say it’s an illustration from as far back as I can remember up until this point.

Before you put the album out, you had released a few singles before. So in terms of introducing the vibes of the album and setting the tone, how did you want to set that up with those particular singles?

I wanted to show all angles. From ‘Chasing My Grave’ to ‘Popeye’, ‘Dig Em Up’ to ‘Coulda Woulda Shoulda’ I wanted to show the different perspectives around the life I’ve lived while still having fun with it creatively.

How would you describe the sound of the album?

Much like myself, it’s multifaceted. I don’t know if I can narrow it down to just one sound, but I’d describe it as post-drill.

The title of the album is Life on Licence. What does that represent about what the album means?

It means a lot of things. Obviously I’m still on licence, but it’s not just about me being a convict; it’s also about life putting conditions in front of you, whoever you are & it’s ultimately down to you whether you let that stop what you got going on. Also LOL cause you gotta laugh at anyone thinking that’s all it is or will be.

You have always been open about the experiences you have had and gone through and how they relate to your music. In what way do you feel that being open in your music has helped you in terms of your own healing journey?

Music is my therapy. I don’t really talk to people about what’s going on inside, but I’ve always been able to express myself through lyrics.

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Was there a particular song on the album that stands out in the process of making the album?

‘Free Your Mind’ ft. Lihtz is one of my personal favourites.

What do you want people to know about you from listening to the album?

There’s a lot more to me than meets the eye.

In terms of your artistry and where you are. How does this album reflect where you are in your creative journey?

I’m trying to flex my creative muscle.

You have been making music a while now. So how do you feel you have grown/changed as a person have grown/changed from when you began your career till now?

I think now I’m more focused on making good music rather than just being the hardest rapper.

You grew up in Peckham. So how do you feel your environment had an impact in terms of your music and creativity?

Growing up in a place like Peckham is not for the weak. Not the greatest socioeconomic environment, so from a young age I saw & did a lot, probably why my lyrics are so graphic.

What can we expect from now that the album is out?

Expect the unexpected.

What are you looking forward to in the next phase of your career?

Enjoying it.

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Three days before the release of her third album Starrgirl, Ayra Starr published a Substack where she wrote about the album's meaning, stating that “Starrgirl is a bridge between past and present, tradition and transformation, self and society, accepting complexity and turning it into strength. To exist in multitudes, to unfold endlessly, to shine in countless numbers like STARS in the galaxy.” The entry served to provide context for what the album means to her and the backdrop against which it was derived. The album has come at an interesting point in Ayra Starr’s journey; the time between the creation of The Year I Turned 21 and its follow-up has been marked by many changes in her life, from moving to a new city, life experiences, love, situationships, personal growth and embracing her identity and self-expression. All of which have been present across the album.

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Her third album is a moment fans have been waiting for, with a lot of anticipation. Its arrival is a moment for Ayra Starr fans across the world. As you embark on the 16-track journey, there is a rawness and honesty you get that feels much more prominent than in her previous bodies of work. Speaking to her life experiences over the past few years and the life she has been living since The Year I Turned 21, her musical shift is very evident as you listen to the album. As somebody who has never been shy about expressing herself and being confident in who she is as an artist, the presentation feels like a shift from the artist we’ve known since she arrived on the music scene back in 2020.​

The album's production is led primarily by Mavin boss Don Jazzy and production duo The Elements, who served as executive producers. As well as additional production contributions from a slew of producers, including the likes of Johnny Drille, Joe Reeves, Skillies, Xize and Stefan Johnson, to name a few. Moving through the 16 tracks, the sonic expansion is very clear beyond the ‘expected’ Ayra Starr sound. From her singles alone, starting with “Gimmie Dat” featuring Wizkid all the way through to “Who’s Dat Gal” with Rema and the latest “Tornado” there is not one sound to describe her album, pulling everything from Afrobeats, R&B, and Pop and stretching her sound to the unexpected. Lyrically, it is very clear that Ayra Starr is not the same girl we met back in 2024. Maintaining that confidence, she takes that to another level as she opens up in a way that is reflective of a young woman who is navigating life as a twenty-something, from sex, love, spirituality, self-identity, and everything in between; she is putting pen to paper with all that she has experienced in the last few years of her life.

The album opens with “Dangerous”, which sets the tone for the energy she embodies as Stargirl and serves as a warning of Ayra’s star power and the energy she is about to bring to the album. Married against the production, which starts quiet in its initial moments before building into something that feels like a soundtrack for a battlefield before Ayra sings the initial words “Starr Girl I don’t play around/When the money that be coming is the right amount/ I’m talking 10 figures for the day I’m out”. Moving into the Kwn-featured “Amazing” brings what you would expect of a Kwn feature, embodying sexual intimacy with a partner in a way that matches Kwn and brings their voices together sonically. In the context of the album, “Tornado” makes sense, whereas it felt a bit misplaced as a single compared to the ones that came before it. Although technically the first official single under the Starrgirl umbrella, it had a lot of different sounds, so identifying its place in the sonic direction felt a bit confusing. “Midnight in New York” plays like a fleeting encounter one might have with a stranger for a night in what feels like something out of a Young Adult Twenty-Something TV show. “Ms Paper”, which features French artist Theodora, feels like an Amaarae-esque track and brings a slightly darker tone with an uptempo vibe, as the two sing about getting money and all that it elicits.

Whilst the majority of the album speaks to the joys and fun, more lighthearted experiences, it is in the later half of the album that we reach greater depth and more personal feelings. The shift comes starting with “Misunderstood”, where she speaks about feelings of being misunderstood and instead embracing one's voice, singing “‘Say what’s on her mind Every time Bottom line” The Zayn Malik-featured ballad presents a softer tone to the album with its piano-led production for the love song. Zayn’s contribution lifts the dual-perspective narrative of a love they both share. Before closing out the album she brings “Treasure” which feels like a testimony to her journey so far and all that she has learned the motivation that has led her to this moment in her career with the words “I do this for myself And the people wey dey follow me for years/I be chaser and I’m headed for the treasure/ Steady W’s cus oil dey my head” the songs fits perfectly in its position on the album as it feels like a celebration of where Ayra is in her life.

Overall, the album feels like the diary and story of a twenty-something girl who is just navigating all that life has to offer and everything in between. For Ayra, the album has clearly documented a special time in her life, and it will most definitely resonate with listeners far and wide. Across 16 tracks, she delivers a body of work that will hold a spot and soundtrack a time in people's lives.

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From Diamond Records to New Beats: Jay Sean’s Enduring Legacy and the Release of ‘Body’

When “Down” broke through the airwaves and music channels all around back in 2019, It was the beginning of a fruitful career journey for Jay Sean. The infectious song, which featured a verse from Lil Wayne and reached number one on the Billboard Hot 100 and peaked at number three on the UK Single Charts, became the song which broke the British South Asian singer into the mainstream. Now, almost two decades later, Jay is still basking in all that he has been able to achieve so far since then. The song, which was recently certified Diamond by the RIAA in the United States, is one of many milestones he has achieved in his career thus far.

With no signs of slowing down, he is back with his second release of the year, ‘Body’. The Afrobeats-inspired track is made for the end-of-day vibes and continues the slate of new music he has on the horizon. As someone who has always been able to diversify his musical talents, he is still delivering and has no plans to slow down.

Speaking to Jay Sean, we spoke about everything from the legacy of “Down”, the new single, his longevity, maintaining his creativity and everything he has in store for the future.

Hi Jay, Congrats on the release of your new single “Body”. Can you tell us about what inspired this song and how it came about?

I think with this one I just wanted to make something that felt good. I’ve always been drawn to melody and records that make you feel something, but this was really about taking that and putting it over something that makes you want to move. It came together naturally.   There wasn’t too much overthinking; it was just about catching a vibe.

The vibe of the song feels great for summer as it is coming to an end. What was the headspace and vibe you were in when making it?

Honestly, exactly that - summer, good energy, being around people you love, being somewhere warm and just enjoying life. I wanted something you could hear at a beach club, in the car, on holiday, wherever - and it instantly puts you in a better mood. Sometimes music doesn’t need to be that complicated!

The song has an Afrobeats feel and vibe. What drew you towards that influence?

I’ve loved what’s been happening with African music for a long time because there’s such an incredible sense of rhythm and melody to it. And those are two things I’ve always naturally gravitated towards in my own music. So it never felt like, “Right, now I’m going to make an Afrobeats record.” It was more about taking those influences and blending them with what I naturally do melodically and as a pop R&B artist.

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You’ve already released “All We Know”, and this is the second single we’ve gotten from you this year. What can we expect from the music you’ve been working on?

I think this year I’m deliberately keeping the energy up. All We Know had that Afrohouse energy, and this record continues that feel-good, uptempo direction. I’ve done plenty of heartbreak and slow jams over the years! Right now I’m enjoying making music that makes people want to dance, go out, travel, live a little. So there’s definitely more of that coming.

Your single “Down” went Diamond, which is a significant achievement. As you are now in your career, what does this moment mean for you, and how do you feel about the song as you look back to that particular time when you made the song? 

The incredible thing about writing a song is that you never really know its destiny. You can believe in it, you can feel like you’ve made something special, but once you release it into the world, it almost takes on a life of its own. To think back to being in the studio simply trying to write the best song I could, and then see that same record go on to break records, make history and still connect with people all these years later is quite surreal. Those are things you could never plan for or manufacture. I think with experience you learn just how rare those moments are, so more than anything, I look back on it with a huge amount of gratitude.

You’ve always represented South Asian artists in the music space. What has that representation meant to you, and how have you seen it change?

When I started, there really wasn’t a blueprint for someone who looked like me doing mainstream Western pop and R&B. So initially I was trying to get through the door myself. But as my career grew, I realised that every door you open hopefully stays a little wider for the person coming behind you. Now I look at the amount of South Asian talent coming through globally, and it’s amazing. There’s still work to do, but compared to when I started, the conversation has changed massively.

What does being a “cultivator” mean to you and building the career you’ve had?

For me, cultivating something is about building it over time. A career like mine wasn’t one moment or one song - it’s been over 20 years of learning, adapting, taking risks, getting things wrong, getting some things right and continuing to grow. And now part of that is hopefully helping cultivate the next generation too. Success means a lot more when you can use what you’ve learned to help somebody else. 

What fuels or inspires your creativity at this current moment?

Life, more than anything. At this stage I’m not chasing what I think I’m supposed to sound like. I’ve been fortunate enough to have already achieved things I never imagined I would, so creatively there’s a freedom in that. If something excites me, I follow it. And weirdly, that freedom has probably made me more creative than ever. 

 How has your process and outlook on creativity shifted throughout the years?

I think I trust my instincts much more now. When you’re younger, you can get caught up in what’s happening, what radio wants, what the industry wants, what everyone else is doing. These days I know myself as an artist much better. If it feels good, I trust that.

You went on tour in 2024. How did that experience feel compared to previous tours?

I’m constantly doing shows - I tend to keep them to weekends now wherever I can. At this stage of my life, I prefer not to spend months away from my family. I absolutely love performing, and that will always be a huge part of who I am, but I also want to be present as a dad. My kids are growing up ridiculously fast, and these are precious years that you don’t get back. So it’s really about finding that balance - I still get to travel the world and perform, which is my favourite part of what I do, but hopefully without missing too much of what matters most at home.

After all these years, what is still your favourite part of making music?

That moment when you know you’ve got something. You can be sitting in a studio with absolutely nothing, and a few hours later there’s a song that didn’t exist before. After all these years, that still feels like magic to me. And then eventually hearing thousands of people sing something back to you that started as an idea in your head; I don’t think that ever gets old.

What would you say has been a highlight moment in your career?

There have been so many moments I’m grateful for, but performing at Madison Square Garden will always be up there. Growing up in Britain, you hear about these iconic American venues, and MSG is almost mythical. So to come from where I came from, cross the Atlantic and eventually stand on that stage performing my own music was one of those moments where I genuinely thought, “How did I end up here?” That one will always stay with me.

You’ve got some exciting things coming up. What can you tell us about them?

A lot is happening. Obviously, there’s more music coming, and I’m really enjoying this new run of records and the sound I’m exploring. But I’m also developing some things outside of music that I’m really excited about -particularly in the TV and podcast space. I’ve spent most of my life telling stories through three-minute songs, so I’m enjoying finding completely different ways to tell stories now too.

At this stage in your career, what does this particular time feel like and what are you most excited about?

It feels like a really nice chapter because I’m not trying to prove anything anymore. I’m incredibly proud of what I’ve achieved, but I’m also still hungry creatively- just in a different way. I get to make music because I genuinely love making music, explore new ideas, help other artists and still walk onstage and do what I’ve loved doing for over 20 years. There’s a freedom in this stage of the journey that I’m really enjoying.

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Stream darkest secrets / CHAKAM Here 

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Genre-fusion DJ and cultural tastemaker Uncle Bubu steps into a defining new chapter with the release of his explosive two-pack darkest secrets / CHAKAM, featuring two of the hottest young voices shaping African music right now: Kemuel and Cupidszn. The project captures the energy of a new generation pushing Afrobeats and alternative African sounds into exciting new territory. 

Across the two records, Uncle Bubu showcases his ability to merge worlds, blending emotion, rhythm, youth culture and global influences into a cohesive sonic experience. 

Produced by acclaimed hitmaker Telz, darkest secrets delivers a smooth and intoxicating Latin-inspired vibe layered with emotional melodies, atmospheric production and undeniable chemistry between the artists. Sensual and immersive, the record feels both intimate and global, balancing vulnerability with rhythm in a way that feels refreshing within today’s Afrobeats landscape. 

On the other side, CHAKAM, produced by Bill Fyre, bursts with youthful Gen Z energy. Infectious, carefree and charismatic, the record captures the spirit of young African creatives shaping culture in real time. With playful melodies, vibrant production and magnetic performances, CHAKAM feels built for parties, festivals and viral moments alike. 

The release arrives at a pivotal cultural moment for African music, bringing together a powerful mix of emerging voices already making serious waves across the industry. Cupidszn continues to rise as one of the most exciting new talents signed to Mavin Records, while Kemuel has established himself as one of the standout voices of the new generation through collaborations with major names including Wizkid, Spinall, Olamide, DJ Tunez and more. 

Known for his genre-bending mixes, cultural influence and ability to connect communities through music, Uncle Bubu has steadily built a reputation as one of the most exciting young DJs and curators emerging from Lagos’ new creative scene. With darkest secrets / CHAKAM, he now takes a major step forward artistically, delivering a release that feels youthful, global and deeply connected to the culture. 

More than just a two-pack, darkest secrets / CHAKAM is a snapshot of where African music is headed next, driven by fearless collaboration, genre experimentation, and a new generation of creatives building movements from the ground up. 

For more information on Uncle Bubu, please visit: 

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It’s 2026 and the average tune booming in the playlists that define Lagos’ nightlife circuits is no longer the usual pop-frenzy. Nowadays, it’s a lot of sounds, including soul.

After nearly a decade of chasing raspier beats and hypermelodic grooves, Nigerian artists are now making room for sounds that favor mood, storytelling and experimentation, creating alternatives to the familiar formulas that have defined the country’s global pop moment.

This means only one thing: listeners have more ways to discover music, and artists have more ways to reach them. 

Part of that consumer behaviour shift is technological. TikTok has become a discovery tool for music, while Spotify and Apple Music allow artists to reach listeners directly without relying entirely on radio or major-label machinery. 

In fact, since Spotify launched in Nigeria in 2021, the number of Nigerian artists on the platform has more than doubled, while R&B streams have grown more than twenty-sevenfold. Nigerian listeners have also created over 25 million playlists.

Now, it’s glaring that with more accessible production and distribution tools, emerging artists can create, package and release music with fewer traditional gatekeepers. Basically, they no longer have to make a club hit first to find an audience.

Withloveru._ is one example of the sound taking shape in that space. Her music centres on love, uncertainty and the messier parts of relationships, with songs that leave room for her vocals and songwriting to carry the weight. Her just-released debut Silk EP offers a glimpse into that approach, while her other earlier releases this year, including “Woman” and “I Think I Love You 2” featuring Magixx, have continued to build on it.

Another artist working with a similarly soulful pace is Demi Mulla. His 2026 releases,  “Distance” and “Pretty Girl Summer (Birthday),” lean into atmosphere and emotion rather than chasing a formula built around immediate impact. His music fits into a growing space for Nigerian artists whose appeal comes as much from the world they create around a song as from its potential to become a hit.

The soulful troubadour Tiimie takes another route, blending contemporary Nigerian rhythms with softer songwriting and alternative influences. His  2.5g EP arrived in March 2026, followed by “Iworiwo”, Nakanamo ft Niphkeys” and “Fish Pond” in April. His  growing catalogue shows how artists can remain connected to the sounds around them while making space for vulnerability, restraint and experimentation.

However, the new wave is not defined by quiet music alone. Ema Onigah represents a more expansive approach, moving through different influences while placing musicianship and storytelling at the centre of her work. His 2026 project ITEM VII and releases such as “Many People” demonstrate an artist more interested in building his  own musical vocabulary than staying within one established formula.

Another force majeure in this new shift is Strei. The young bard pushes that experimentation into darker territory. His seven-track NIGHT EP, released in May, includes “Anxiety,” “Sugar,” “Surplus” and “Obobe,” while “Catapult” adds to his 2026 output. His music brings a sharper edge to the conversation, showing that the alternative space can accommodate rap, darker production and emotionally charged writing without needing to sound like mainstream Afrobeats.

Meanwhile, the softer-toned Taves shows that experimentation does not always have to happen outside Afrobeats. His music brings together familiar Nigerian rhythms with guitars, percussion and more direct songwriting. His 2026 releases, including “Simone,” “Bad & Boujee” featuring Shoday and “Pressure” with Show Dem Camp, demonstrate how organic textures and contemporary Nigerian pop can exist in the same space.

Elsewhere, NELLO MXL and Serøtonin are taking the idea of genre fluidity even further. NELLO MXL’s 2026 releases, including “Melodian” and CURRENTS, continue his movement between melodic songwriting and Nigerian-influenced sounds. 

Lastly, Serøtonin, on the other hand, has built a more unconventional musical identity around Afrofusion, folk influences, ambient textures and elements of Nigerian oral tradition. His work resists easy categorisation, making him another example of how far outside conventional pop structures some emerging artists are willing to go.

Overall, what connects these artists is not a single genre, tempo or aesthetic. It is the willingness to experiment with what Afrobeat can feel like.

As Afrobeat continues to dominate globally, Nigerian artists are increasingly treating genre as a starting point rather than a boundary. As a result, there’s a boom in Afro-fusion, where genres like R&B can borrow from Afrobeat, Rap leaning into soul, and pop can make room for experimentation. The quieter wave may not always command the loudest conversation, but it is becoming increasingly difficult to ignore. And for all the right reasons. 

Ravyn Lenae’s Blue Island begins with the single ‘Handle”, the second single from the album. Ushering in the album, it signals a shift from her previous album, Birds Eye, and once again shows her ability to infuse several genres into her musical palette. From then on, she continues to showcase not only the sonically expansive music styles present on the album, but also brings her signature vocal and ethereal tone to the project.​

From top to bottom, the album plays flawlessly. Moving between genres of indie rock, funk, R&B, soul and psychedelic rock. Everything she brings across the 14 tracks melds together and becomes something that sounds authentically hers. Across her career, Ravyn has never been an artist who is trying to chase a moment or follow a trend; instead, she has developed her own musical style in a way that is unique to her. She is somebody who has been able to take the space and room to create something that continues to showcase her strength as an artist going from album to album.​

Moments on the album that stand out include “Familiar Dreams”, which has a nostalgic feel to it as she sings about reconnecting with an old flame after a long period of time. The feeling brings a somewhat whimsical feel to the song and an aspect of remembrance. “Never Let Me Go”, which follows immediately after, feels like the alternative R&B sound that people will be familiar with. The song ends with a voicemail from her grandfather and adds a special touch to the song's essence. “Potential”, the lead single that ushered in this new era for Ravyn, also shines in the context of the album with her melodies that come into a distortion of sounds and create a different sonic that one might have been expecting from start to finish. With this being one of the two lead singles, it very much displayed how this would be introducing a different soundscape for Ravyn. Further down, another standout moment on the album is  “Babygirl”, which includes vocals from Doechii, someone who is no stranger to collaborating with Ravyn on the Xtsay remix back in 2022. This time around, the two opt for something much gentler than one may have expected, with both giving a soft, melodic vibe to the song that speaks to confidence and self-empowerment for girls.

Overall, the album really showcases Ravyn's freedom of creation and not being forced to subscribe to what others may expect of her, especially following the success of “Love Me Not”. Ultimately, she is following her own bliss and showcasing her ability to genre-blend and discover more within her artistry that others may have confined her to. Blue Island delivers a refreshing sound and body of work and delivers on the mission she set out for it.

In 2021, Ayra Starr released 'Bloody Samaritan' and made it immediately clear that she was not interested in being palatable - she was 19 years old, already fully formed in her attitude and her sound, and the record announced both things at once without apology.

Born Oyinkansola Sarah Aderibigbe, she signed to Mavin Records in 2020 and released her self-titled debut EP in January 2021 before 19 & Dangerous arrived in August of that same year - a debut album whose title captured exactly the energy she brought to every stage she walked onto during that period. The project established not just a voice but a specific kind of fearlessness that has remained the most consistent thing about her across every project since.

The Year I Turned 21 followed in May 2024, her second studio album and the project that expanded both her sound and her reach significantly. 'Gimme Dat' with Wizkid earned a Grammy nomination. 'Who's Dat Girl' with Rema, released in October 2025 as her first official collaboration with him, asked the question this piece is trying to answer. In July 2025, she signed a management deal with Roc Nation while remaining at Mavin for recording - a positioning that placed her within two of the most powerful music infrastructures in the world simultaneously, and one that reflected the kind of long-term career thinking that has quietly distinguished her from many of her contemporaries.

What makes Ayra Starr particularly compelling beyond the music is how genuinely she loves the journey - the process of making records, building sonic worlds, finding collaborators who stretch her. She has spoken consistently about music not as a destination but as an ongoing creative practice, and that enthusiasm shows up in the range of what she has said yes to: Wizkid, Rema, Angélique Kidjo, FOLA, NPR Tiny Desk, The Jennifer Hudson Show. The breadcrumbs leading to Starrgirl have been buttery and deliberate - 'Where Do We Go' in March 2026, an Afropop and electronic track about a hidden romantic relationship released on Women's History Month; 'Tornado' with FOLA in June, Latin-percussion-inflected Afrobeats produced by Skillies, Shizzi and RiotUSA, premiered live at NPR Tiny Desk before its official June 12 release; a feature on Angélique Kidjo's 'Aye Kan (Are You Coming Back)' in March. She has covered significant ground this year before the album has even arrived.

Then came the album cover - a purple gele, a nod to her Yoruba roots, shot by Paris-based photographer Axle Jozeph with creative direction by Peter Famosa, Richie Igunma and Ola Badmus. The image landed quietly and then everywhere at once - not a viral explosion but a slow, sustained wave of responses that kept building. Within days it had spawned animations, paintings, reimagined concepts, a purple star filter, a Starrgirl game, and young Nigerian men wearing geles in solidarity in lecture halls, opening a conversation about expressive masculinity that the cover had not explicitly invited but clearly made possible. The campaign has been placed alongside Rema's HEIS as one of the strongest pre-release moments in modern Afrobeats - a comparison that speaks to how deliberately the visual identity of Starrgirl was constructed.

On July 30, Ayra revealed via Instagram Story that she had undergone major surgery a few days prior, more complicated in its recovery than she had anticipated. She did not disclose the nature of the procedure, and the silence was enough for the internet to begin filling in the blanks - the speculation arrived quickly, as it tends to when a young woman in the public eye has a medical procedure and declines to explain it. She addressed none of it. From her hospital bed, she asked her Mobstarrs to pre-order Starrgirl, started an 11-day countdown to the album, and assured everyone she simply needed rest before returning.

Starrgirl is 16 tracks spanning Afrobeats, R&B, alternative R&B and dancehall, with confirmed features including Wizkid and Rema. She has described the album as being about existing in multitudes - a broader creative statement than the age-and-numbers concept that gave her first two projects their structure. The purple gele on the cover places her Yoruba identity at the centre of her most globally ambitious project to date, The purple gele on the cover places her Yoruba identity at the centre of her most globally ambitious project to date, and it is a choice that feels entirely natural given how consistently she has moved through both worlds - the local and the international, without treating them as opposites. Starrgirl drops August 14.

For three days last weekend, Montreal’s Parc Jean-Drapeau was overrun with fans from across Canada and beyond to attend the 19th edition of Osheaga. The lineup varied widely in terms of genre and notoriety, but Canadian artists were notably prioritized. This year, DEEDS attended for the first time, and we had a lovely time!

In order of appearance, here are the Osheaga sets that transformed our festival experience.

PARTYOF2

If there’s one thing PARTYOF2 are going to do, it’s immerse the viewer in their world and throw a great party. It’s clear in everything from their music videos all the way to their stage performances. With coordinated fits and choreography, Jadagrace and SWIM took us through their budding discography, including the TikTok-viral hit, “POSER”. They’ve had a whirlwind last couple of years with the exit of band member TJOnline, and the release of debut album, AMERIKA’S NEXT TOP PARTY! but you wouldn’t know it by the way they performed. The earnest resilience that’s laced through all their songs makes it hard not to root for them, plus they give a great show!

Little Simz

Ten years since her last performance at Osheaga, Little Simz returned to a bigger stage and a truly excited crowd. Even before the show started, I could tell the competition to be in front was getting serious. With the coolest-looking band members I’d seen all festival, Little Simz gave us a multilayered set - part rap performance, part DJ set, all party. Unlike some artists at the festival, she didn’t rely on any backing tracks even for her denser verses. As Little Simz performed a litany of her hits including “Point & Kill” and viral feminist anthem “Venom”, you could tell she was having so much fun - that made two of us. 

‍Sofia Isella

The 21-year-old dark pop artist may still be early in her career, but her performances are already must-see spectacles - just ask Taylor Swift and Florence + the Machine, two major artists she’s opened for. At the Osheaga Scotia Forest stage, Sofia Isella emerged to much fanfare, covered in grime from head to toe, with emphasized dark circles and hair hanging loose. A woman possessed, the multi-instrumentalist enthusiastically performed many of her hits, including “Out in the Garden”, TikTok favourite “Hot Gum,” and “The Chicken is Naked and Afraid,” which was featured on the COLORS Show. It’s impossible not to feel the angst that fills her songs; Isella has shared that her music is her way of portraying the “gore of womanhood,” and boy, was this performance gory (in the best way possible).

‍Zara Larsson

Zara Larsson’s performances have gone viral many a time, but the real thing is still hard to beat. Hours before her set, the Bell River stage was packed with fans eager to see the headliner, wearing various shades of pink, orange, and florals. As we chanted her name, the pop singer arrived, opening with mega hit “Midnight Sun”. The crowd went wild and stayed that way throughout her performance. Memorable moments include her performance of “Symphony”, “Ain’t My Fault,” and of course, “Lush Life”, complete with the official dance. To perform the latter, she called on a young fan named Olivia who gave it her all. That heartfelt moment has already captured hearts beyond the festival through social media. Zara Larsson has already had a stellar couple of years, but I have a feeling this is just the beginning.

Lorde

There’s something so romantic about ending the festival with Lorde in the rain. Fans online even hoped the forecast would stay gloomy so they could have a repeat of the last time she performed at Osheaga ten years ago. Her return was much anticipated, and in return, she gave us her all. Her performance was so visceral; she never stopped moving, and she clearly felt every word. When delivering the show, Lorde’s dancers and stage techs successfully found a balance between performance art and a rave. The crowd was also extra loud when she played classics like “Liability”, “Supercut”, “Greenlight”, “Team”, “The Louvre” and her verse on Charli XCX’s “Girl, so confusing”. Before her set ended, she made sure to thank us many times for coming, and even said, “I think this is one of the coolest festivals in the world…I love Osheaga.” We love you too, Lorde!