Home is a place that's completely different if you have to find it twice. For Akuvi it was never in the cards. Raised between Accra and Oslo, she was never quite Ghanaian enough, nor Norwegian enough. She inhabited an identity that wasn't given back to her by either country. In such a case most people are reduced in size. Yet, Akuvi decided to sing. As a student of life, she had acquired more lessons in her early years than most artists do in years. What she still didn't comprehend was the role she would play in the narrative of African music. That answer came accidentally in Johannesburg. 

It was in a jam session that something hit home for Akuvi. There she discovered that the introspective neo-soul synths by Jhené Aiko and the Afrobeats rhythms by Davido, which she loved while growing up, weren’t enemies. She merged both sounds together and built her artistic image around it. The trajectory that followed is one that is not off the mark. Akuvi was one of the young women invited to the Forbes Under 30 Summit and Forbes Leading Women Summit, where music intersects culture, influence and currency. She was the headliner at Oslo World Festival, an event which was proof enough that her growing fan base already knew her show would be something different, her music, something to be felt in the human body. She was a tour opener for Shenseea, and featured with Stonebwoy. Billboard Africa and GQ Africa were impressed and so was Disney and Netflix. 

Her new EP, Afrobeats for Emotional Gangsters, however, is no celebration of success. It's a rawer, more self-aware account of her experience with heartbreak and the singular pain of watching a cherished thing slowly decay. 

Deeds caught up with Akuvi, to discuss Afrobeats for Emotional Gangsters, identity, navigating the industry and what’s keeping her inspired.

‍For readers discovering you for the first time, who is Akuvi beyond the headlines, streaming numbers and performances? What are the experiences and values that have shaped the artist you’ve become today?

I am a hyper sensitive, deep thinking romantic who loves melancholic Afrobeats and who happens to use music as my outlet for coping with a constant state of overstimulation. I am an explosive entertainer and a philosophical writer who loves to inspire people to embrace their emotions. My love for Afrobeats and alternative R&B were the building blocks of my hybrid genre as the two are a natural choice. I make what I like. My listeners are sexy over thinkers with complex and beautiful backgrounds in Africa and the diaspora. I’m shaped by my family, who are all musicians, as well as my never ending identity crisis with roots in both Norway and Ghana. All my music represents parts of me and my journey. Therefore, you’ll find recurring themes like belonging, purpose, heartbreak and anxiety in my art.

I am an explosive entertainer and a philosophical writer who loves to inspire people to embrace their emotions.

You grew up between Ghana and Norway. How has navigating those worlds influenced the way you see yourself and the stories you choose to tell through music? 

Music has always been the only place that truly feels like home. It has always functioned as an embassy for me, whether I’m in Norway, Ghana or South Africa. Music is where I find belonging, inspiration, and an outlet for my inner world. I grew up extremely insecure about the fact that I didn’t really fit in anywhere, as well as my voice being in the deeper register. I know now that it is all my weirdness that makes me interesting and real. Not fitting in is simply an invitation to lead. It also helps that I relocated to the continent (I stayed in South Africa for 5 years and later moved to Ghana). As I am doing afro centric music, it makes a lot of sense to pursue my dreams in Ghana, the roots!

Afrobeats for Emotional Gangsters is a title that immediately grabs attention. What conversations were you hoping to start with this project, and why did now feel like the right time to have them?

I’ve always wanted to nail the type of Afrobeats for lovers who also love R&B, Jazz and Soul. Sometimes I feel misunderstood when I simply say that I make Afrobeats, as the genre is often associated with jolly, fun, feel-good vibes. I’ve realized that my listeners are similar to me, and I want them to feel seen and proud of being sensitive and emotional gangsters. Many people listen to sad music alone, and fun and fierce music in public. With my music you get to shed a tear and whine your waist at the same time. The gangster inserts some sort of pride in being a cryer haha. Furthermore, I feel the title captures the contrast that inherently lives in my recorded music but also my live performances. There is vulnerability but equal amounts of sass and aggression. I want people to embrace what it is to be human, just like how we allow children to switch from crying to smiling within seconds. Feeling is healing. Thirdly, being emotional and admitting it IS gangsta! 

I’ve realized that my listeners are similar to me, and I want them to feel seen and proud of being sensitive and emotional gangsters.

The EP explores emotional complexity in a way that feels very intentional. What was happening in your life creatively, personally or emotionally that inspired this body of work?

The EP contains songs I’ve written over the course of the last two years, and reflects some deep pain I had to work through as I went through the biggest heartbreak of my life. Heartbreak and grief have many layers and I think the body of work reflects the different stages I’ve gone through. It goes from realizing that the end is near on “No Words”, to grieving the friendship that ultimately is the foundation of a relationship on “Strangers”, to healing and trying again on “Poison” and “Let Me Know”. The project mirrors the process I went through emotionally. 

Nobody talks about how the ghost of past betrayal affects and distorts the hope one goes into a potential new relationship with. How crushing on someone can trigger anxiety rather than hope, or how being in an on-and off again situationship can be addictive. The EP became the only place I felt that I could truly be honest. 

When you began creating Afrobeats for Emotional Gangsters, what was the vision you were trying to bring to life?

I’ve had a lot of breakthroughs in my career over the past year, and my main intention was to introduce myself to my new listeners who recently discovered me through my performances opening for Stonebwoy and Shenseea as well as my viral videos. I wanted a complete body of work that captures my sound. I wanted to capture the emotional and melancholic type of afrobeats as my signature sound, in a way that feels updated and refined. 

The project effortlessly presents a refreshing take on Afrobeats. How do you approach genre in your music, and do you see yourself as part of a new generation of African artists who are redefining what Afrobeats can sound like?

When I started making music more than 10 years ago, I didn’t have any role models who did this particular sound. I had love for afrobeats and neo soul as two separate things. Jhene Aiko, the Internet and Frank Ocean would please my R&B ear, while Burna Boy, Davido etc would be my go-to afrobeats artists. It was through jam sessions in South Africa that I realized that I could mix the two, and so myself and my band did exactly that. It came out so unique and it felt satisfying, delivering vibes AND vulnerability. When artists like Tems, Omah Lay, and Gyakie came up, I felt so happy. It felt like I’d found my people and that I was a part of a very specific wave. I definitely think this niche has come to stay. 

Your lead single, “Woah” featuring Mellissa has become a standout moment on the project. Walk us through how the song came together. 

When Soulbase and I started working on the track, I immediately had an instinct to involve Mellissa. She does her afro-sexy sound, and seeing how smooth, cinematic and sensual the song was becoming, I was convinced it would be a perfect match. We sent it through and she absolutely killed her verse. Immediately, we started envisioning the visuals, and as predicted, it came out steaming hot, hehe. Shout out to Kwame Kodah, my favorite Ghanaian director of all time. 

As a woman navigating the Ghanaian and broader African music industry, what realities do you think are still under-discussed when it comes to building a sustainable career?

I think what for instance Moliy is doing, and what Mellissa and I did with this track, is the beginning of a shift. For a long time it used to be the case that female artists, since we are few, would be compared and baited to compete with one another. I think this generation of female artists in Ghana are actively changing that by rooting for one another and collaborating. Look at Moliy, Shenseea, Moliy and Tyla, Mellissa and myself. We are demonstrating that working together is more powerful than trying to be the only one. I love to see it! 

Do you feel there are expectations placed on female artists that their male counterparts are less likely to face? How have you learned to navigate those pressures while remaining authentic to yourself?

Both are expected to be really good at what they do, but for women, we also have to look extremely good while doing it. Glam, fashion and aesthetics happen to be things I am also passionate about, so for me personally I’m not mad at it. But generally speaking, if you see what kind of packaging women are expected to have for their talent (performances, costumes, beauty standards, bodies) you clearly see a difference. At the same time, I find it useful to view the visual aspect of the art and also the business as an asset. I have fun with the process and enjoy putting together shows, visuals, outfits that make me feel good and that becomes the visual representation of the sounds and my vision. I love putting it all together, especially when working with the right people. 

African music is experiencing unprecedented global growth. As someone operating within that movement, where do you think the industry still needs to evolve, particularly when it comes to creating opportunities for women?

In my opinion, Ghana needs to be placed on the map to a way bigger extent than now. A lot of what Nigeria is credited for now, partially stems from Ghana. Don’t get me wrong, shout out to Nigeria and South Africa for being so assertive with their global ambitions! But what I would like to see is more of the countries represented. We have some global potential that I feel needs a more aggressive export approach. I personally am trying to make that happen by doing collabs, performing internationally and also organizing my own events, bringing together Africa and the diaspora. I’m hoping that my festival, the Dream Big Afro festival, will be a contribution to the export of especially Ghanaian music.

You recently launched the Dream Big Festival, an initiative that extends beyond music itself. What inspired the festival, and what impact do you hope it will have on young creatives and communities moving forward?

I grew up in Norway, a country that for a long time was very white and homogeneous. I’ve personally felt how lack of representation and inclusion does to one’s self image, confidence and identity. So for a long time I’ve been wanting to change the scene in Norway. It started with a headline show that I was hosting when it hit me that I can use this evening and stage to lift up other afrobeats artists in Norway as well. Based on the reception and the engagement coming from all the artists involved, the attendees and also industry people in both Norway and in Africa, I have decided to take this to the next level. Next year, the Dream Big festival will have both local and international acts, bridging the gap between Africa and the diaspora. 

What excites you most about the next chapter of your artistic journey, both musically and personally?

I want to go deeper. We are already working on the next project, which will be Afrobeats for Emotional Gangsters Part 2. On this project, we delve deeper into the dark side of being an emotional baddie. Expect more fire and aggression, alongside the dreamy, cinematic afro soundscape we’ve created in Part 1. In Part 2, we are facing the dragon.

After the release of Afrobeats for Emotional Gangsters and the launch of Dream Big Festival, what can fans expect from Akuvi next, and what dreams are you currently chasing that people may not know about yet?

I’m excited to keep performing the new songs live. My headline show was only the beginning of a series of performances where we got to give the EP a physical manifestation. Bonding with fans through live performances is always very special, and it feels so good to bring choreography into the mix, it’s like I get to express the song all over again but in a physical way. I would never expose all my dreams, as I believe in doing rather than talking, but I will say this: I will keep doing things that scare me. So should you.

Photo Credit: Lydia tefara

The opening track on Therapy Wasn’t Enough sets the tone for the 11-track album by R&B singer Inayah, chronicling the challenges and realities of her relationship with her fiancé. Throughout, Inayah presents her rawest, most vulnerable self, delivering honest, relatable lyrics, melodies, and production that capture a wide range of emotions.

​Therapy Wasn’t Enough is more than just a collection of songs; it's genuine introspection and reflection that also unveil a renewed side of Inayah. Having sung since her youth, her breakout came from a viral cover of Ella Mai’s Boo’d Up, introducing her voice to the masses. Since that moment, her Gospel- and Blues-influenced voice has brought something fresh to R&B.

​As a follow-up to 2024’s Wait, There's More, Inayah’s new album clearly shows her artistic and vocal growth. This phase marks a personal transformation, now reflected in her music. In our discussion about her album release, we delve into healing, chasing dreams, singing in church, the album's making, and more.

Hi Inayah, great to meet you. First of all, congratulations on the release of your new album. Starting from the beginning, where did the idea of you wanting to make this particular album begin for you?

So this album is, collectively, almost six years in the making, because it's the story of me and my now-fiancé. It's me sharing the journey of how he and I have learned to do life together, and all the things that entail. Learning how to choose to do life together has been a journey: the ups, the downs, the good, the bad, the ugly, all of that is in this album.

Therapy is a big part of this album, and so even in your experience of going to therapy, and then also sharing and opening up in the way that you have in your music, like, how did you find the experience?

It was challenging. I can't lie about that. My fans know me for real, raw storytelling about real-life events, but I've never been this vulnerable before. I’m proud of my growth on this album. I love all my projects, but Therapy Wasn’t Enough is the first time I can say I’m a grown woman on a record. People often think that being with your soulmate means all is perfect, but love, though beautiful, has its challenges. We chose therapy instead of giving up, but therapy alone wasn’t enough. We had to apply what we learned—therapy is just a tool, one you must use beyond the session. That’s what this is about, and I’m still learning. I don’t have it all figured out.

The song "Choose" was the first single you released for the project. Why did you want that song to kind of represent the album as the first song people heard?

When you look for a good book, you often read the summary on the back to understand what it’s about. Similarly, I felt “Choose” was the summary of this album. It introduces the main themes and emotions of the album, showing the journey and the different stages of love. The song includes moments of grief, anger, ultimatums, love, and a mix of experiences reflected throughout the album.

The song speaks about being put in a situation where you have to choose between your love and relationship and your music. And so even in having that experience and going through that, in chasing and following your dreams but also dealing with the realities of your life and everything else you go for. How have you felt about managing the chase for your dream while balancing everything else?

I have to be honest, I still haven't figured it all out. Maintaining balance is a challenge, and I'm learning as I go. I started as a little girl with a dream and a love for music, and as I grew up, I put in the work to make things happen for myself, with the help of God opening doors for me. I try to disconnect from work when I'm home with my kids and fiancé, and when I leave home, I fully step into my role as an artist. These are truly two different worlds. At home, I'm a mom—cooking, dropping off and picking up the kids, playing basketball with them. I aim to be present in every area where I'm needed. It's a wonderful responsibility, and I do my best to show up for all of them.

How did you find the overall process of making the album?

I had already healed from the story of the album; I wasn't in that space anymore, emotionally, mentally, and in my love life, in my relationship. I thank God we were able to grow past that, but whenever something impacts my life, I write it down and make a song out of it. I had to tell my fiancé, “You know, I'm gonna write about this; I'm gonna write about this challenge that we faced” because it was impactful.  I know that if I felt it to the magnitude I felt it, somebody else has got to fill me in on this. Somebody else has, I know, somebody else has dealt with this in their love life, or faced some type of challenge in love. So, although the experience sucked, I knew that there was an assignment in it. When I got back into the studio, I had to re-channel and remember the heartache. I had to mentally take myself back to how I felt in those moments, in order to execute the emotion that you hear on therapy wasn't enough, you know, I was crying all over again. I even got mad all over again, like I just rechanneled all of those emotions in order to, in order to nail it, you know, because it's hard for me to do something that I don't feel.

I was able to get with phenomenal producers that I've always dreamed of working with: Underdogs, Camper, and Ghost. There are so many; it's a dream to get into the studio with producers like that. When I wrapped the album, I went home, lay in bed with my fiancé, and I said, "Hey, you know, we're going to take this, listen to the album from start to finish. I want you to hear it first, you know” and after he listened to it he was sad to realise this is where this is where that moment took you, you know. And, but also at the same time grateful for the growth in the fact that we made it out of that, because a lot of couples don't.

As the album has just come out, and now it is out in the world. How do you feel towards the album now, considering the subject matter is so close to home?

It's a beautiful story. I don't listen to it with shock, like, "wow, we went through that." I listen to it more so with an ear of appreciation rather than, like, damn, we did that. I feel like life is an assignment in itself. When we go through these experiences, for someone in my profession, it's part of our assignment to share them and how we got over them. I'm helping so many people, so I listen to it with the appreciation of, like, man, I hope this heals and helps people who are having the same type of difficulty or dilemma in their love life or in their life in general. I hope this is a guide for them. I hope it gives them whatever answers they're seeking, and I hope they try therapy, you know. I hope that therapy can help save whatever they're going through, but they have to realise that if therapy alone isn't enough, and they still have to put the work

Outside of the storytelling in terms of the lyrics and the subject matters, the production on the album is also very rich, so even in terms of creating the sonic tone and having it match with what you were trying to say, how did you approach that?

I went into the studio knowing exactly what I wanted to feel; I think having great communication with the producer is half the battle. I told each producer how I was feeling and what I wanted the song to feel like. I want the instrument to feel the same way as the emotion that I felt. If I was sad in that moment, I need some kind of slow violin. If I'm angry, I need some 808; I need some bass. If I'm, if I'm trying to be soft and sultry, give me a sweet piano. So I would communicate with the producers to give me an instrument that matched the emotion, and I think they did that really well. The two of us, putting our heads together like that, I think we, we nailed.

What did you want people to  get out of this album?

I want them to take away that two things can be true: you can be a lover and a leaver, because, because, honey, I'm both okay. Also, I want them to know that, as cliche as it sounds, anything worth having is worth fighting for. So, you know, give therapy a try if it can save years of history. There's a line in “WTF” which goes 'Is this really what we want? Is this house not a home? I don’t, but you keep blowing up my phone? So it's like if I don't have the idea of.. can this be saved? Can we even make it past this? Some people are opposed to therapy, especially in the black community. Growing up, therapy was one of the best decisions I've ever made for myself and my relationship, but it only works. If you're honest, and it only works if you're going to do the work. You don't just get a reward without the work, and you also just learn how to be a better communicator. The one thing that I've learned from this album, even though I'm the one telling the story, is that there was more benefit in being a listener rather than a talker, you know, because that type of shit don't work when you're trying to do life with somebody.

Going back to your musical beginnings. What would you say was the thing that first initially drew you to music?

‍So my mama tells this, this story of when I was a baby, I was two years old, and there was the 20th Century Fox theme song that you hear at the beginning of movies, and she said that every time it would come on I could be in the playroom, but then I'll come tee tottering into the other room, running just to catch that intro. So she said she caught it very early on that it was something that really spoke to me, and it was something about that specific melody. She was also a songstress. She used to sing as well. She had musical dreams, so I have to thank her for that guidance and nurturing my gift. She and my Aunt Rosalynn were the two who really took care of my gift. I learned riffs and runs from my Aunt Rosalynn, who was the music director at our church, and they put me in the choir, and I started there. Church is my core; that's where it all started, at Church of God in Christ, and I would travel with the choir, and do you know a bunch of congregation guest appearances, and I ended up taking music into me well into my adult life. I ended up working with a jingle company, which I still work for. I never quit my job; a lot of people are surprised when I say that. And I would play around with that's where I learned how to rap. My brother Terry Allen taught me how to rap, and I remember going home one evening and playing around with Ella Mai's “Bood Up”, and I freestyled to it, and I was like, post this and see, just see, you know, I posted that video. I had about 4,000 followers when I posted that video. I woke up the next morning to over 200,000 followers, quite literally viral overnight. So a lot of people made the mistake of thinking, oh, she just came out of nowhere and went viral, you know, but I have been singing my entire life literally, and then I went on to sign with Empire in early 2020, and I'm still with them today.

Even in your experience of singing in the church and being a part of the choir and then going out and branching out and singing on your own. How did you find that experience in terms of that transition?

It was, but you know, my mama was such a protector of me. She didn't even allow us to listen to secular music until I was an older teen. She really kept a lot of that from us until we got old enough to understand it. And then once I was able to, you know, kind of come into my own, I just one wanted to know what that other side of music was like because I would listen to my mom's blues albums, my mama had Johnny Taylor, Johnny Taylor and Barry White were two blues albums that my mama had, and I was sneaking, playing when she was gone, and that's how I came to fall in love with blues, and then eventually over into R&B, Johnny Taylor is still my favorite male singer until this day. I learned a lot of the structure of storytelling from artists like Johnny Taylor and Barry White, because, you know, blues is stories, And when I was able to, grow into my adult life, and was able to explore different types of music, the R&B side, and then get over into the jingle company, I said I think this is something I would like to do this for a living. I've never seen myself doing anything other than music. God showed me very early on that I would have a career in music. Coming up through gospel, I say, into where I am now, some people would understand the soul in my voice, that background, and I, I got to give it all to church and blues; that's really the core, that's truly the core.

So overall, to wrap up everything. Just in terms of where you are in this space, creatively, musically, etc. What does this moment feel like for you?

I'm in a space where I want to do everything that scares me. I want to conquer it all, you know. I don't want to leave this life with no fears. I want to be able to say I've done all the things, and I've gotten so much inspiration of bravery from this album. Again, because it was a scary thing to speak from such a vulnerable space. So now I want to do other things on my checklist of things that scare me, like skydive. I want to, I want to get in a hot air balloon- things that terrify me. I want to go on a camping trip and actually stay overnight in the mountains. You know, I'm so scared of bugs. I'm super inspired to be brave now because of this album.

Long before his recent Webby Award win for The Orange Tree, Vic Mensa had established himself as one of the most compelling cultural voices of his generation. Artist, activist, community organizer, filmmaker, and entrepreneur, the Chicago-raised Ghanaian-American has spent more than a decade building bridges between Black America and the African continent while challenging conventional ideas of what a modern artist can be.

At a time when visibility is often mistaken for impact, Mensa’s work has consistently extended beyond music. From grassroots initiatives addressing systemic inequality and providing resources to underserved communities, to creating platforms that preserve and celebrate Black culture, his career reflects a commitment to action as much as expression. Whether through activism, storytelling, fashion, film, or music, his work is rooted in a larger mission: cultivating connection, consciousness, and cultural exchange across the African diaspora.

That perspective is deeply informed by his own identity. “Chicago is essential to my unique framing,” he says in a conversation with Deeds Magazine. “The South Side-meets-Ghana is the DNA. The only thing that will be valuable for artists [over time] is their unique framing.”

With a gritty voice and a punk-rock sensibility, Mensa first emerged as a singular force with his 2013 mixtape INNANETAPE, distinguishing himself through a rare combination of vulnerability, political awareness, and creative fearlessness. His debut album, The Autobiography, peeled back the layers of his personal struggles while sparking conversations around addiction, mental health, and social justice.

Over the years, his creative universe has expanded far beyond music. From the SaveMoneySaveLife Foundation and his 93PUNX collective to his award-winning storytelling platform The Orange Tree, Mensa has continued to use culture as a vehicle for dialogue, education, and transformation.

As part of our Cultivators Issue, we sat down with the multifaceted creative to discuss spirituality, fatherhood, Black identity, cultural responsibility, and the evolving legacy he hopes to leave behind.

You've built a career that refuses to stay inside one box. Was there ever pressure to simplify yourself for the industry?‍

There's always feedback from various people over the years about what lane to stay in or what I should do. Open to it as it can help you grow but can also lead you away from other ideas. I've found that I'm at my best when I put intention behind my work.‍

You've spoken openly about sobriety, healing, and discipline over the past few years. How has that shift changed the way you approach art, success, and masculinity?‍

Sobriety is instrumental to the approach in that every decision is intentional. There was less free-wheeling for sure, maybe less playful, but also more sustainable. As a drug addict I'm on the shot clock, the crash is coming. On masculinity? i don't know. I don't really think about masculinity a lot. I think I'm more focused on just being a human.‍

There's a strong spiritual thread running through your recent work and interviews. How has reconnecting with faith and African spirituality reshaped your understanding of identity?

Faith is central to my reimagination of self. I need faith to stay above water. I lean on the ancestors and Allah in the same breath.

‍Your recent Webby Awards recognition feels like a moment that reflects the cultural impact of your storytelling beyond music. What did that win mean to you personally, and what do you think it says about the kind of narratives audiences are connecting to right now?

The Webby Award was fire! I appreciate the people winning that for me and my manager Meg submitting it. The Orange Tree Series is interesting work. I’ve always said that sometimes my ideas come out as a song, sometimes an essay or a script, sometimes a film. But at the end of the day it's just ideas. It's been recharging to see people connect to me for just being me.

‍A lot of artists speak about "using their platform," but your activism has consistently felt rooted in real community work. How do you balance visibility with genuine impact?

Visibility is important in certain ways as it can raise awareness to causes that are important. When I'm able to raise awareness to causes that I care for whether it's with shoe donations, giving back directly with clothing or food and clean water in Ghana, I want to make sure it has good intentions behind it. For media/attention, if it comes and makes a difference that can be a blessing too.

‍You've collaborated with artists across rap, punk, electronic music, and alternative spaces while still sounding unmistakably like yourself. How important has creative freedom been in your journey?

I'm a Gemini so I'm very polar. I've done a lot of different things in the past but I try not to think about them too much. Most of my day is spent just returning to the present.

‍What does family mean to you right now? What /who is the singular most important part of your life right now?

Becoming a father has changed everything about my life. It all revolves around that role now, around my son and his mother.

‍How would you describe your connection and responsibility to Black culture as an African and an American. 

I first visited Ghana 20 years ago now, it's crazy to realize how long it's been. As a conduit between the black American experience and the continent I feel l am in a unique position to be a bridge for these two intrinsically intertwined worlds. 

‍Your artistry often feels deeply cinematic or even the emotional structure of your music videos and performances. Do you see yourself expanding further into film and visual storytelling?

I've been learning a lot about filmmaking both behind the camera and on the page. I've written countless scripts, jokes, scenes, skits, you name it. I made a short film earlier this year called Halfrican that l've submitted to a few film festivals and will be coming online soon. So yes, Film is a very significant part of what I see for myself in the future.

‍We're seeing a growing cultural bridge between Black America and Africa. From your perspective, what conversations still need to happen between both worlds?

Colonialism has done a number on us. We fixate on our differences because it has always served our oppressor for us to be divided. Massive resources from multinational parasites are poured into fan the flames of discord amongst people of African descent, globally. Education is the answer. Africans are educated on black Americans black Americans are educated on Africans are educated on Caribbean's, The bickering and fighting takes a completely different turn.

‍A lot of younger artists are struggling with the pressure of constant visibility and online performance. What advice would you give creatives trying to protect their humanity while building a career in public?

It's definitely a different time than when I started. You're going to have people who doubt you, everyone does no matter what you do. If you're dedicated and creative, there is no ceiling. Don't be afraid to fail.

‍Do you think audiences are finally becoming more open to emotional honesty from male artists?

Yes and no. I think audiences and fans gravitate to what they gravitate to, if we're being honest, comments and headlines can change opinions too. Releasing music, it's an extension of myself and whatever opinions or thoughts, hopefully good that people have on it means a lot.

‍What's something people misunderstand about evolution especially when it happens publicly?

When it comes to music you can't make the same album twice. It just doesn't work. Would Michael be Michael if he made two thriller's? Just like yourself or whoever is reading this, you can't expect an artist to be the same person they were when they dropped an album 3-5 years ago. The person or music can be different. I challenge myself constantly to evolve and try new things.

‍Deeds Magazine focuses heavily on cultural architects and cultivators shaping global Black culture. Who are some people - famous or not - that have cultivated you?

I would say Aja Monet is a person who has cultivated me and organized me into movements. I give a lot of credit to her. She introduced me to Malcolm x Autobiography when I was 16, took me to Palestine in 2017, and has always cultivated my gifts.

‍Looking ahead, what kind of legacy feels most important to you now. Is it the music, the impact, the ideas, or the lives changed along the way?

Lives changed, luckily I'm able to do that with music, impact, and ideas. The most important thing to me is doing the right thing. When I leave this earth one day, as we all do.
That will matter the most to me.

‍Your work has always existed at the intersection of Music, Activism, Spirituality, and Personal evolution. What does being a Cultivator mean to you at this stage of your life and career?

Being a cultivator is being a curator, I think i’m always curating influences, inspirations and ideas into a creative way of being.

Credits
CD : Roderick Ejuetami
Photographed by Roderick Ejuetami (@deeds_art)
Styling : Sina Braetz (@sinabraetz)
Video: @johnny_cooke
Design: @salame
Photo assistant : @merklafamilia
styling assistant
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The most exciting movements in music rarely begin at the top. They emerge quietly  in bedrooms, home studios, underground venues, and across digital communities:before eventually shaping the wider cultural landscape. Across the UK, a new generation of artists is doing exactly that, building worlds of their own through fearless experimentation, deeply personal storytelling, and a refusal to be confined by genre.

Today's emerging artists are creating in an era where boundaries feel increasingly irrelevant. R&B blends with drill, gospel intersects with rap, alternative pop sits comfortably alongside soul, and vulnerability has become just as powerful as bravado. Rather than following established formulas, these artists are defining their own, creating music that feels reflective of modern Britain in all its complexity, diversity, and creativity.

What connects this new wave is not a singular sound but a shared commitment to authenticity. Whether exploring love, identity, faith, heartbreak, ambition, or self-discovery, these artists are using music as a vehicle for honest expression, inviting listeners into experiences that feel both deeply personal and universally relatable. Many have built loyal communities through consistency and genuine connection, proving that cultural impact is no longer determined solely by commercial success.

From viral breakthroughs and critically acclaimed projects to underground favourites steadily building momentum, the artists featured in this list represent some of the most compelling voices currently emerging from the UK. Each is carving out their own lane, contributing to a broader creative shift that is redefining what British music can look and sound like.

These are the artists on our 2026 radar and if their current trajectory is anything to go by, they won't stay under it for long.

TR GOBRAZY 

TR GOBRAZY is a South-East London rapper known for his gritty delivery, raw energy, and street-driven storytelling within the UK drill scene, and is one of the newer names coming out of the UK underground rap scene. Emerging from the underground, he built attention through his authentic voice and direct approach to music, often reflecting real-life experiences with intensity and confidence. He first started getting attention as a producer, with credits connected to tracks like Central Cee and Dave’s “Sprinter,” along with several drill records, before stepping out properly as a rapper himself. 

He continues to build a reputation for consistency, bringing a raw and unfiltered energy. Tracks like “Handbag,” “Bagged,” “Homeless,” and “Finesse My Bro” helped him build momentum. “Handbag,” especially, became one of the songs people kept on rotation within UK rap circles. 

His latest single, “Forreduci,” continues that signature approach, pairing a stripped-back, hard-hitting instrumental with a direct, high-energy performance. The track stays grounded in themes of pressure, survival, and ambition, delivered with his usual urgency and street perspective. 

The music video elevates the release through a striking visual concept in collaboration with Lauzza, blending bold animated sequences with a 3D-printed set design. The whole aesthetic leans into a cold, glitchy, dystopian London style. This mix of physical craftsmanship and digital animation creates a unique, almost experimental aesthetic, amplifying the raw tone of the record while giving it a cinematic edge. 

Overall, “Forreduci” reinforces TR GOBRAZY’s position within the UK underground scene, showcasing both consistency in his sound and a growing creative ambition in how he presents his music. Visually, he is one of the dopest new artists emerging right now, with incredible storytelling visuals. 

NATANYA 

NATANYA is a British singer, songwriter, and producer from North London whose sound blends alternative R&B, soul, and experimental pop influences into a style that feels both nostalgic and forward-thinking. She first emerged in 2019 with her debut single, “Sunset Melody,” released while still in school, followed shortly after by “Blue Jay” in 2021. She later returned with “Like U,” continuing to develop her distinctive sonic identity. 

Her fusion track, “Foolish,” surpassed one million streams, marking a major breakthrough moment and leading to a support slot for R&B group FLO. Since then, NATANYA has continued building a reputation for her genre-blending sound, emotionally rich songwriting, and creative unpredictability. NATANYA’s most recent project, “Felines Return,” marks one of her most defining artistic statements to date, expanding her world further into a space where alternative R&B, experimental pop, and soul-infused production collide.

Her latest single, “Don’t Ask!,” represents a bold step forward in her artistry. The track leans into a more theatrical and confident sound. It explores themes of ambition, independence, and refusing to seek permission or validation, presenting a more direct and assertive version of NATANYA. 

Overall, NATANYA continues to stand out as one of the most distinctive emerging voices in the UK alternative R&B space, consistently pushing her sound forward while building anticipation for what she does next. She balances experimentation with emotional clarity, shifting between stripped-back vulnerability and bold, genre-blending production that draws from alt-pop, soul, and experimental R&B. 

 FINESSEKID 

FINESSEKID is a South London-born rapper and emerging voice in the UK underground scene, active since 2024. His music blends elements of drill, trap, and club-influenced percussion, defined by swagger-heavy wordplay and an energetic, confident delivery. He first gained attention through viral freestyles, quickly becoming one of the most closely watched newcomers in British rap.

He represents a newer wave of UK underground artists building momentum through gritty, internet-driven releases and a raw, minimalist sound. His style focuses on tight flows over hard-hitting, bass-heavy production.

He has continued to build momentum through both solo releases and high-profile collaborations. Among his most notable link-ups are associations with Skepta and Lancey Foux, placing him within a wider network of influential and forward-thinking UK artists. His breakout moment came with the 2025 single “Sirens (From Ireland)”, a track that significantly amplified his visibility across streaming platforms and social media.

His new track “Boyega” builds on that momentum. “Boyega” stays rooted in his core themes: ambition, confidence and progression, and is focused on its delivery and intent. Overall, “Boyega” reinforces why Finessekid is being closely watched in the UK underground, steadily developing a recognisable sound and presence with each drop.

Overall, “Boyega” reinforces why FINESSEKID is being closely watched within the UK underground scene: he is not just releasing consistent music, but steadily developing a recognisable sound and presence with every drop.

LXO

LXO is a North London contemporary R&B singer-songwriter and producer whose sound blends nostalgic influences with a modern, self-defined edge. Her smooth melodies, cadences and narrative-driven storytelling, alongside fusing genres like sexy drill and other alternative influences, position her to carve out her own space within the evolving UK R&B scene.

Her single “I’m Sorry”, her second release, resonated strongly because listeners connected with the feeling of reclaiming themselves after being undervalued in a toxic relationship or situation, turning the song into an emotional release and an anthem of reassurance. Instead of centering heartbreak, the song flips the narrative into one of confidence, self-worth, and emotional power, which pushed the track viral across TikTok and social media and marked a turning point in her early career.

She’s continued to build momentum with singles “Hold Up” and “Lockscreen”. Her latest single, “Lockscreen”, sits in the space between desire and discipline; a record about yearning for the right partner while never losing sight of self-worth. It frames love as intentional—open to connection, but always on her own terms.

Her visuals for “Lockscreen” deepen that duality: 90s R&B girly nostalgia reflecting vulnerability and romantic imagination, while also being authoritative, where LXO appears in office wear reviewing CVs of potential partners, with the CV motif symbolising standards, discernment and emotional leadership. Her music explores love, heartbreak, relationships and emotional growth while giving listeners a sense of confidence, reassurance and comfort, where visuals are not decoration but an extension.

Her music explores themes of love, heartbreak, relationships, and emotional growth, while giving listeners a sense of confidence, reassurance, and comfort through both her sound and storytelling. For LXO, visuals are not decoration but an extension. She continues to shape a distinct sonic and visual identity, expanding a cohesive world where emotion, empowerment, and individuality all coexist.

BXKS

BXKS is a UK rapper from Luton known for her sharp delivery, laid-back confidence, and distinctive melodic flow that blends drill, rap, and R&B influences. Her music balances hard-hitting rap energy with smoother, more melodic moments, giving her a sound that stands out within the new wave of UK artists. BXKS has become recognised for her effortless cadence and ability to move between gritty lyricism and catchy, understated hooks without losing her identity.

Her latest project, “Fear of Eclipses” (EP), showcases that artistic growth in full. Across the project, she leans further into atmospheric and melodic production while maintaining the cool, controlled delivery that has become central to her sound. The EP explores self-awareness, pressure, independence, and navigating success on her own terms, with BXKS relying on tone, cadence, and subtle lyricism to carry emotion.

BXKS allows mood, flow and atmosphere to carry the weight of each track, creating a sound that feels effortless but intentional. While still rooted in UK rap and drill influences, “Fear of Eclipses” expands beyond those foundations, incorporating more melodic textures and experimental moments that help separate her from her peers.

Overall, “Fear of Eclipses” reinforces BXKS as one of the most distinctive and forward-thinking voices in UK rap, continuing to evolve her sound while staying true to the style that made her stand out. With each release, she continues to prove her versatility and artistic range, leaving growing anticipation for what is still to come.

RICO ACE

Rico Ace is an emerging UK artist shaping a sound that sits between melodic rap, R&B emotion, and trap-led production. His music is defined by contrast: smooth, almost vulnerable melodic moments layered over darker, more aggressive rap sections. That balance gives his catalogue a fluid identity, where mood often leads the direction as much as lyrics or structure, balancing emotion and momentum in equal measure.

Across his early run, Rico Ace has built strong momentum through consistent output and key collaborations with EsDeeKid. Their joint releases — including “Bally,” “Phantom,” “LV Sandals,” “Dope Boyz,” and “Treason” — became defining entries in his rise, circulating heavily within the UK underground. These tracks highlight his adaptability, as he switches between melodic hooks and sharp, rhythmic flows while still maintaining a recognisable and consistent sonic identity.

What separates Rico Ace from many emerging artists is the emotional duality within his music. On one hand, there is a cold, confident street presence driven by punchy delivery and hard-hitting beats; on the other, there is a more melodic, introspective side that leans into emotional honesty and personal experience. This gives his music a lived-in quality, where even high-energy tracks feel personal, while more reflective songs still hold a certain edge and tension.

That duality is expanded further on his 10-track project, “Black Jack,” which serves as a more complete statement of his artistic direction. The project explores different pockets of his sound — from atmospheric, late-night cuts to more structured, hook-driven tracks built for replay value — while showcasing a wider emotional range. Blending moody, atmospheric production with catchy melodic structures and more experimental rap flows, the project also demonstrates a clearer sense of artistic identity, with cohesive production choices that lean into both mood and momentum.

With “Black Jack,” Rico Ace continues to position himself as a rising voice within the UK scene, steadily building a catalogue that feels intentional. His growth is rooted in consistency, collaboration, and an evolving sonic identity that bridges underground rap energy with melodic accessibility. His ability to balance emotion, atmosphere, and hard-hitting rap elements positions him as an artist with strong growth potential, continuing to refine a style that feels both current and distinct within the evolving UK rap landscape.

MYSIE

Mysie (pronounced “My-Zee”) is a British singer-songwriter, producer, and pianist from South London with Ugandan heritage, known for her genre-blurring blend of electronic, soul, alt-pop, indie electronica, and alternative R&B. Her music is rooted in emotional storytelling and immersive production, combining warm vocals with experimental textures to create records that feel intimate, cinematic, and deeply expressive.

From an early age, Mysie was immersed in a wide range of influences spanning electronic, dance, pop, rap, hip hop, and indie music, drawing inspiration from artists such as Flying Lotus and Thundercat. That early exposure to boundary-pushing music helped shape her artistic direction, inspiring her to create music that feels fluid, emotionally rich, and unrestricted by genre.

Mysie’s artistry moves effortlessly between vulnerability and experimentation. Her songwriting often explores themes of identity, emotion, freedom, and self-reflection, delivered through layered melodies, atmospheric arrangements, and unconventional sonic choices that continue to separate her from her peers.

Her latest single, “Don’t Like You Anymore,” leans further into electronic textures and emotionally detached lyricism, blending alternative R&B with club-inspired production to create a record that feels both confrontational and emotionally vulnerable. The track explores emotional distance and disconnection through immersive production and expressive vocal delivery, reinforcing the introspective and genre-defying qualities that define her sound.

As both a musician and visual creative, Mysie places strong emphasis on world-building through styling, imagery, and sonic cohesion. Her artistry feels intentional yet emotionally raw, positioning her as one of the most forward-thinking and distinctive artists emerging from the UK alternative music scene.

SKAIWATER

Skaiwater is a Nottingham-born rapper, producer and creative artist known for pushing the boundaries of alternative rap through a blend of rage, hyperpop, emo rap, trap and electronic influences. Skaiwater has built a cult-like following through genre-defying music, emotionally unpredictable songwriting and an unapologetically experimental aesthetic.

Their sound moves fluidly between distorted production, vulnerable melodies, high-energy rap performances and glitch-heavy electronic textures, often rejecting traditional song structures altogether. Drawing influence from internet culture, underground rap communities, gaming aesthetics and alternative fashion, Skaiwater’s music feels intentionally unfiltered, capturing the emotional intensity of a digitally raised generation.

Skaiwater continues to expand that sound further with the recent single “Guess What”, a high-energy collaboration with Tezzus that leans heavily into chaotic rage production, distorted bass and hyperactive delivery.

Following projects like #Gigi, #Mia and Wonderful, the release further reinforces Skaiwater’s reputation as one of the most forward-thinking artists emerging from the UK underground. By combining rage, hyperpop, Jersey club, trap and alternative rap into a constantly evolving sound, Skaiwater continues to reshape what modern underground rap can look and feel like.

DC3

DC3 is a fast-rising UK rapper from Northampton known for blending Christian themes with UK rap, jazz, gospel, and alternative hip-hop influences. He has gained attention for intense freestyle-style performances, emotionally charged delivery, and faith-focused lyrics. In 2026, he broke into the mainstream after winning both Best Newcomer and Best Gospel Act at the MOBO Awards, which pushed him into wider UK rap conversations and gospel-influenced music circles.

Songs like “I Know!” and “Upstairs” helped him build a huge online audience, particularly on TikTok and YouTube, where clips of his performances spread quickly due to his unpredictable flow switches, raw emotion, and spiritual intensity. His music often feels less like traditional rap and more like a hybrid of testimony, spoken word, and performance, which has helped him connect deeply with listeners seeking honesty and emotional depth.

His rise also reflects a wider shift happening in UK rap, where artists are increasingly blending genre boundaries and openly exploring themes like religion, mental health, and personal struggle. DC3 sits at the centre of this movement, bringing together gospel-inspired expression with alternative production and contemporary UK rap energy, creating a sound that feels both modern and spiritually grounded.

DC3 stands out within the new generation of UK artists because of the intensity and unpredictability of his delivery. His music moves between melodic preaching tones, rapid-fire flows, and emotionally charged spoken-word passages, creating tracks that often feel more like personal testimonies than traditional rap songs. Rather than relying on conventional structure, DC3 builds emotion through vulnerability, pacing, and raw expression, allowing listeners to connect deeply with the message behind his music. Whether speaking on faith, pressure, purpose, or personal struggle, his honesty and emotional depth have helped him resonate strongly with younger audiences searching for authenticity and reassurance.

As his audience continues to grow, DC3 is increasingly being recognised as one of the most original emerging voices in British music. His rise reflects a wider shift happening within UK rap, where artists are becoming more open about vulnerability, spirituality, and emotional honesty while pushing beyond traditional genre boundaries. Blending gospel-inspired emotion, alternative production, and modern UK rap influences, DC3 has created a sound that feels both deeply personal and culturally impactful. With each release, he continues to challenge expectations of what UK rap can sound like, positioning himself as an artist with a strong creative identity and long-term potential.

DEXTER IN THE NEWSAGENT

Dexter In The Newsagent is a South London artist known for her introspective songwriting, lo-fi production, and emotionally honest approach to alternative music. She first gained attention through self-recorded songs made on her iPhone, building a cult following through soft, conversational vocals and deeply personal storytelling that blends indie, R&B, UK garage, and bedroom pop influences into a sound that feels nostalgic. Over time, she has continued to evolve creatively while maintaining the DIY vulnerability that made her stand out.

Alongside her solo work, Dexter has collaborated with artists including Niko B on “Trespass Coat” and Jim Legxacy on “Dexter's Phone Call,” further cementing her place within the UK alternative underground scene. These collaborations have highlighted her versatility and ability to naturally fit within the wider world of experimental UK music while still maintaining softness and emotional intimacy.

Her latest mixtape, “Time Flies,” feels warmly nostalgic, capturing the same emotional comfort as flipping through an old photo album. Across the 12-track project, Dexter reflects on memories, growing up, love, family, identity, and loneliness with a softness that feels both personal and universally familiar. Tracks like “Special” and “Eighteen” blend hushed dance production with early-2000s-inspired textures, creating music that feels timeless and comforting. The project carries a dreamy atmosphere throughout, balancing melancholy and warmth in a way that mirrors the blurred feeling of looking back on formative moments and relationships.

Dexter creates intimacy through understatement, allowing small details, quiet melodies, and conversational lyrics to carry emotional weight. Her songwriting often feels observational and diary-like, capturing moments that might seem ordinary on the surface but become deeply affecting through her honesty and perspective. That same feeling carries into her latest release, “Special (A COLORS SHOW),” where her emotionally raw songwriting is stripped back even further. The performance places her soft vocal delivery and reflective lyrics at the centre, allowing themes of love, validation, vulnerability, and self-worth to resonate more deeply. The minimal presentation highlights the emotional clarity of her writing and reinforces her ability to create impact.

Dexter In The Newsagent continues to carve out a unique and deeply personal space within the UK alternative scene through honesty, intimacy, and storytelling. Her ability to transform everyday emotions, memories, and insecurities into music that feels universally comforting has made her one of the most emotionally resonant emerging artists in the UK right now. As her artistic world continues to grow, she represents a new generation of artists proving that vulnerability, softness, and authenticity can be just as powerful as volume or spectacle, leaving growing anticipation around where her sound and storytelling will evolve.

CARI

Cari is one of the most compelling new voices in alternative R&B. Best described as a quiet storm, the Black-British singer, songwriter and instrumentalist, shaped by her Caribbean roots and raised in London, creates music that moves fluidly between alternative R&B, indie soul and experimental textures while remaining emotionally grounded and instinctive. Guitar sits at the centre of her artistry, acting as both a sonic and emotional anchor throughout her music, threading vulnerability and intimacy into each record she creates.

Her artistry is rooted in patience, growth and emotional honesty. Cari released her debut single “Colder in June” in 2023. The release marked a defining turning point in her career, opening the door to new creative opportunities while establishing the emotional depth and atmospheric storytelling that would quickly become synonymous with her sound.

She followed the release with tracks such as the indie-leaning “Over & Over” and the melancholic “Bleeding”, both of which further showcased her ability to translate vulnerability into immersive sonic experiences. Cari’s music thrives in its honesty and restraint, allowing space for emotion, texture and subtlety to take centre stage.

That growing momentum has already led to a number of standout opportunities early in her career. Cari performed as part of a special NPR Radio collaboration with Marni, opened for Sasha Keable in Paris, and contributed the dreamy interlude “Cari’s Honeymoon” to Destin Conrad’s debut album “Love on Digital”.

Cari recently returned with “Laugh Later Cry Now”, a deeply reflective single featuring AMBRE that further showcases her ability to turn vulnerability into atmosphere. Blending alternative R&B, indie soul and stripped-back instrumentation, the track explores the emotional tension between avoidance and honesty.

The collaboration between Cari and AMBRE feels naturally intimate, with both artists bringing softness, emotional depth and vulnerability to the record. Their voices move seamlessly across the production, creating a conversational dynamic that strengthens the song’s themes of emotional conflict, heartbreak and internal reflection. Driven by subtle guitar work, warm melodies and emotionally detailed songwriting, “Laugh Later Cry Now” leans into the restraint and honesty that continue to define Cari’s artistry. Cari continues expanding the deeply personal and atmospheric world she has been building across her catalogue.

TEEBO FG

Teebo FG is a British rapper and producer emerging from the UK underground scene, known for his delivery, dark experimental production and raw approach to contemporary British rap. His music blends street-rooted lyricism with industrial, bass-heavy beats, creating a sound that feels intense, immersive and unapologetically underground.

Teebo FG first drew major attention with “Shop Floor (B22’s)” in 2024, an underground anthem that quickly circulated across the UK scene before later receiving a remix featuring fellow artists Len, Hako, and Coults. The track established Teebo as a distinctive new voice, showcasing the cold delivery, dark production choices and gritty energy that would become central to his sound.

Since then, he has continued building momentum through consistent releases and a sonic identity shaped by mood-driven production and sharp vocal performance. While much of his music leans into darker textures and high-intensity delivery, there is also an atmospheric quality to his work that allows his cadence and storytelling to remain at the forefront. His 2025 mixtape RIDDLR further cemented his position within the UK underground landscape.

His latest release, “COD 45”, expands on that identity through a cold, bass-heavy instrumental and tightly controlled delivery. The track captures Teebo G at his most focused, balancing aggression with precision while exploring themes of ambition, survival and street mentality. Driven by distorted textures, heavy percussion and an intense atmosphere, “COD 45” reinforces the stripped-back rawness that continues to define his music.

What makes Teebo FG stand out is his ability to maintain intensity without losing clarity or control. Rather than overcomplicating his approach, he relies on mood, cadence and presence to carry his records — a quality that continues to position him as one of the UK underground’s most distinctive and fast-rising new artists.

SADE OLUTOLA

Sade Olutola is a British-Nigerian singer-songwriter crafting a distinctive space within the UK’s alternative soul and R&B landscape. Her artistry is rooted in emotional storytelling, introspection and atmosphere. Through warm, expressive vocals and poetic lyricism, Sade creates music that feels deeply personal while still carrying a cinematic, nostalgic and immersive quality.

Earlier this month, Sade Olutola told Deeds Magazine that her work is driven entirely by self-direction, with both her music and visuals coming directly from her own ideas and perspective. She described herself as the core “source” of everything she creates, ensuring her artistry stays authentic and aligned with who she is rather than outside influence. She also pointed to three key pillars—nostalgia, community and authenticity—that shape her creative world. These values keep her work cohesive while allowing her to evolve naturally, with every project grounded in honesty and personal expression.

She further introduced her artistic world through her 5-track debut EP Arrow Heart, a concise but emotionally layered body of work that showcases the full range of her artistry. Blending alternative R&B, indie pop, electronic textures and soulful songwriting, the project creates a dreamlike listening experience built around intimacy, vulnerability and emotional reflection.

She went on to share that her EP Arrow Heart is being developed as a visual album, with plans to create a music video for each track. She described the project as an extension of her artistic vision rather than a separate idea. Inspired by Beyoncé’s self-titled visual album, she explained how its full visual rollout influenced her approach and reinforced her desire to treat music and visuals as one cohesive body of work.

Across Arrow Heart, tracks such as “Grey Matter”, “Ready 4 It” and “Game for Two” continue exploring themes of connection, uncertainty, longing and emotional push-and-pull. Rather than relying on overly polished mainstream structures, the project leans into mood, texture and feeling, allowing each song to unfold with patience and emotional weight. There’s a quiet confidence in the way Sade approaches songwriting, trusting subtlety and atmosphere to carry the emotional impact.

What makes Arrow Heart particularly compelling is its strong sense of identity and world-building. The EP feels less like a collection of songs and more like an emotional universe, where visuals, sound and storytelling all work together. Through immersive production, intimate writing and carefully curated aesthetics, Sade Olutola continues to establish herself as one of the UK’s most promising emerging alternative voices.

SAMRECKS

Samrecks is a Nigerian-born, South East London-raised rapper, singer and producer known for his melodic, fashion-forward approach to contemporary UK hip hop. Emerging from London’s music scene, he has quickly become one of the most talked-about new artists in British rap, recognised for his self-directed creativity, genre-blending sound and introspective lyricism.

His music sits between rap, melody-led performance and alternative production, often carrying a reflective tone that explores ambition, identity, loyalty and emotional pressure. Samrecks stands out for his ability to balance vulnerability with confidence, pairing thoughtful writing with an off-kilter, expressive delivery that feels both modern and unpredictable.

His track “Amazing Grace” from the REKKI I mixtape is one of his most introspective releases to date. The song focuses on perseverance, loyalty and self-belief, capturing the emotional weight of chasing his goals while navigating fake relationships, pressure and everyday struggle. Throughout the track, he reflects on survival and ambition, using “Amazing Grace” as a metaphor for hope and deliverance through difficult times.

Built on minimal, atmospheric production, the song allows his cadence and storytelling to take centre stage. He shifts between melodic phrasing and rap delivery, creating a raw but controlled performance that feels personal and reflective.

Overall, “Amazing Grace” reinforces Samrecks as a distinctive voice in the new wave of UK talent, an artist pushing creative boundaries while grounding his music in honest, lived experience.

NIA SMITH

Nia Smith is a British soul and R&B singer-songwriter from Brixton, South London, celebrated for her rich vocals, honest songwriting and emotionally driven sound. Combining elements of classic soul, contemporary R&B, jazz and alternative music, she has quickly emerged as one of the most exciting new voices in the UK scene.

Through intimate storytelling and warm, layered melodies, Nia’s music explores love, vulnerability, healing and self-growth with striking sincerity. Her ability to balance softness with emotional depth has helped her build a sound that feels both timeless and refreshingly modern, drawing listeners in through production and deeply personal lyricism.

Her debut EP Give Up the Fear introduced listeners to her emotionally candid approach to songwriting, earning praise for its soulful production, vulnerability and honesty. The project positioned Nia as a standout artist within the UK’s growing alternative soul and R&B landscape, showcasing not only the strength of her voice but also her ability to create music that feels intimate and universally relatable at the same time.

Since then, Nia has continued to build momentum through a series of reflective and heartfelt releases, further cementing her place as an artist to watch. She recently collaborated with Destin Conrad on the tender single “Tough”, a soulful and emotionally rich record centred around openness, connection and vulnerability.

The track pairs Nia’s warm, soulful delivery with Destin’s airy, melodic vocals, creating a soft but emotionally charged blend that feels reflective and deeply human. The collaboration highlighted her ability to seamlessly blend with other artists while still maintaining the warmth and individuality that defines her sound.

Alongside her recorded music, Nia’s live performances have also become a key part of her growing reputation, with her calming stage presence and expressive vocals allowing audiences to connect deeply with her music in real time.

As her artistry continues to evolve, Nia Smith is carving out a distinct space within contemporary soul and R&B, creating music that resonates through honesty, emotion and quiet strength.

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It’s been nothing but celebration and smiles for Arsenal Football Club and its supporters since historically clinching the Premier League title for the first time in 22 years. To add to the celebratory season, the North London club has launched a new installation within the V&A East Museum’s “The Music is Black: A British Story” exhibition to shed light on its longstanding connection to Black British culture, music, and community.

The club’s contribution features a mural first showcased at Emirates Stadium that traces Arsenal’s Black history, alongside a selection of player shirts and memorabilia from the club’s history.  Also on display is a curated selection of the club’s recent video content celebrating the influence of Black culture, music and storytelling within football. Taking visitors on an immersive journey, the exhibition moves from musical moments, including the club’s collaborations with Ezra Collective’s Femi Koleoso welcoming Martin Zubimendi and Arsenal Women’s Olivia Smith to the club, through to the award-winning film bringing together Eberechi Eze and Arsenal legend Ian Wright, and in-depth conversations with Noni Madueke, Taylor Hinds and Black Arsenal editor, Dr Clive Nwonka exploring the history, stories and inspirations behind this special relationship.

To mark the installation’s launch, Arsenal hosted a special panel discussion led by Academic-in-Residence Dr Clive Nwonka, author of the acclaimed book ‘Black Arsenal’, and chaired by former Olympian and broadcaster Jeanette Kwakye MBE. The panel featured Arsenal legend Anita Asante; LABRUM London founder Foday Dumbuya, who collaborated with Arsenal and adidas on the club’s 2024/25 Africa-inspired away kit, and Ghanaian-British afrobeats producer, DJ and musician, Juls, who composed the music for the kit’s launch film.  

The discussion also explored how generations of Black players, supporters and creatives have helped shape Arsenal's identity, redefining representation in English football and establishing the club as a cultural force extending into music, fashion and everyday life.

Sharing their thoughts on Arsenal’s enduring bond with the communities at the heart of the club, the panellists reflected on the relationships, moments and experiences that have shaped its legacy. We asked each of the panelists to describe Arsenal in 3 words. Here’s what they said:

Anita Asante: Family, Fandom, Culture.

Juls: Resilience, Community, Greatness.

Foday Dumbuya: Culture, Community, People

The Black Arsenal installation is now open at V&A East as part of The Music is Black: A British Story, running until January 2027.

Photo courtesy: Polaroid Go Gen 3

Jihan is a conversational shop exploring new relationships between commerce and culture through the everyday language of African and West Asian design established in Paris, May 2026.

It opened it Chapter I on the 4th of June at 6 Rue Charles-François Dupuis in Le Marais. Chapter I exhibiting a curated selection of brands which includes Super Yaya, Renaissance Renaissance, Kaia Olive Oil, Paria Farzaneh, and Rescha. Chapter I will run through July, followed by an international e-commerce rollout in July.

The visual identity of Chapter I is introduced through a campaign shot by Dexter Navy, whose distinct image-making language captures the energy and future-facing spirit of the project.

Beyond retail, the space hosts Worldly Matters by Jihan, a sub-brand exploring the relationship between commerce and culture with some of the brand’s favourite writers, thinkers, and musicians. Aligned with the Paris cultural calendar, the program transforms the shop into a space of active conversation, featuring a film screening by SHASHA Movies, an interactive reading room with HIKMA, and a residency with STORM Books.

Jihan is built on a model of shared prosperity. From the outset, five percent of profits support organisations advancing women’s economic independence. For Chapter I, Jihan partners with the Misr El Kheir Foundation in Egypt, providing the tools and training needed to transform traditional craft into sustainable livelihoods for women artisans.

Jihan is a space that gathers objects, stories, and ideas from the people and places that inspire us most.

Jihan would love to see you there!!

04 June - Opening Night: A community gathering to mark the launch of Jihan Chapter One.  • 

09 June - Film Screening by Shasha Movies, curated by Sara El Adl: An exploration of political  disorientation and capitalist rupture in Egypt. Anchored by the works of Dawood Abdel Sayed and  Youssef Chahine, the screening traces the aftermath of the ‘open-door’ policy into contemporary  reflections by Marianne Fahmy, Assem Hendawi, and Bahar Noorizadeh. 

11 June - Tea Ceremony with Toutia: A neighbourhood welcoming to engage with Jihan’s founders and  mission over a bespoke collaborative tea blend.  

15 June - Interactive Reading Room with HIKMA: A workshop led by Dalia Aldujaili focused on the  preservation of Mesopotamian histories. Featuring a physical collection of rare texts, the session  facilitates dialogue on collective memory and the protection of minoritized regional histories. • 

• 20 June - Listening Session and DJ Set with Cheb Mimo: Marking the release of TUNIS HOTEL  STEREO COMPILATION, Jihan hosts a listening session and live set with London-based DJ and NTS  resident Cheb Mimo. The compilation is the culmination of years spent archiving and reconstructing the  stories of Tunisian musicians who navigated the intersection of heritage and global sounds, from reggae  and rock to disco, demonstrating that modernity and tradition are not opposing forces.  

30 June - Talk with Storm Books & Candy: A reflective evening to conclude the residency, discussing  the importance of archiving and documenting the "matters of our worlds" to understand the path  forward. 

‍

As things continue to kick into gear ahead of the World Cup tournament this summer, Nike has premiered a short film as a doorway into the world of Nike Football featuring a wide, star-studded cast from the global brands talent pool.

Titled, “Rip The Script”, the project follows Nike’s biggest footballers of the past and present as they go off script and show their ball knowledge. Kylian Mbappé breaks away from the defense, then finishes with a brilliant bicycle kick. Vini Jr. sidesteps hostility with a smile. Cristiano Ronaldo keeps pushing the limits of how much one athlete can achieve. Erling Haaland strikes only when the moment is right. Legendary players like Eric Cantona, Ronaldinho, Zlatan Ibrahimović, Didier Drogba and Jorge Campos continue to play by their own rules, even in retirement.

“We made this film to meet football communities exactly where they are, not just on a screen, but in their world and deeply engrained into their subcultures,” said Helena Thornton, VP, Nike Brand Management in a statement. “We didn’t want to follow the traditional marketing playbook. We wanted to give them something worth talking about, worth clipping, worth wearing, worth showing up to. A story they don't just watch — one they can make their own. That’s the whole idea behind our universe of Nike Football.”

LeBron James, Travis Scott, Kim Kardashian, Ted Lasso, Kate Scott, Channing Tatum, Young Miko and LISA also make cameo appearances in the film. We were intentional in choosing every cast member in the film, and we had fun and leaned into the playfulness of their roles,” says Enrico Balleri, VP, Creative Director, Global Brand Voice. “We knew Kim, for example, takes Saint to play football, so we created a whole ‘soccer mom’ persona for her, and in later extensions of the film, we’ll build and deepen that storyline. A cast that reflected an authenticity and a real connection to football was crucial to us.”

There are music festivals, and then there are cultural pilgrimages.

When you step onto the grounds of the Roots Picnic in Philadelphia, the word “roots” stops being just the name of a legendary hip-hop band and starts acting as a literal description of the environment. It is organic in every sense of the word. It’s a space where the global African diaspora gathers, thrives, exhales, and celebrates. To put it simply, this is Black Coachella, but with a soul and authenticity that can't be manufactured.

For two electrifying days, the festival took over the iconic Belmont Plateau in Philadelphia’s Fairmount Park for the very first time. The location choice was pure genius, offering a breathtaking, sweeping view of the city skyline which served as the perfect backdrop for a weekend full of thrilling performances. Fairmount Park was transformed into the world’s biggest, most intentional family cookout.

The air carried a heavy, familiar warmth with the type of comfort that instantly takes you back to childhood summers, good food, and an overwhelming sense of community. Over 80,000 attendees flooded the gates on Saturday and Sunday. Looking out at the crowd, it felt like a living, breathing map of the African diaspora that came to life as a breathtaking, cinematic gathering of our people on a scale that I have never seen before. I had no idea this many people could even fit into one place, yet there wasn't a single shred of chaos. Instead, there was a beautiful sea of sprawling blankets, vibrant blown-up couches, and blow-up chairs dotting the grass. People set up spontaneous board game tournaments, took endless selfies, and basked in an overarching feeling of safety and pure joy.

If you want to know where the culture is heading, you look at the fashion at the Roots Picnic. The diversity in style was staggering all different shades, every imaginable hair texture, and an aesthetic that felt hyper-forward yet completely relaxed. The unofficial uniform of the weekend? Oversized pants, radiant smiles, and a strict no-heels policy. This was a sneaker head’s paradise. The ground was a runway of exclusive, one-of-one kicks that you couldn’t find on a standard retail shelf.

It made total sense, then, why massive global brands wanted to be part of the magic. The activations this year understood the assignment perfectly, blending seamlessly into the festival's aesthetic rather than disrupting it. Foot Locker brought absolute heat to the sneaker community, featuring a prize-packed human claw machine that had everyone lining up.

McDonald’s returned bigger than ever with their Chef’s Remix activation, pumping massive flavor and energy into the crowd, while Toyota hosted exclusive live performances and fan experiences at the Toyota Music Den, anchored by the all-new RAV4 and bZ. Even the Free Library of Philadelphia Foundation and Friends showed up for the community, providing free cuts, braids, library cards, and books. On the premium side, Jack Daniel’s, Tito’s Handmade Vodka, and D’USSÉ powered the vibes all weekend long with refreshing cocktails, with D’USSÉ hosting a sleek, black-and-gold lounge that exuded luxury. Meanwhile, AT&T brought a vibrant, immersive Blue Room experience to the grounds. For those of us working behind the scenes, the media lounge felt like a plush, oasis-like retreat plucked straight out of Indio a welcome, cushioned sanctuary amidst the beautiful madness.

The musical curation across the AT&T Stage and the Plateau Stage was brilliant, keeping the vibes immaculate between every single DJ set. The weekend actually kicked off on Friday night with the 4th annual Roots Picnic Con and a Roots Picnic Pride Soiree, followed by an official AT&T Kickoff Party featuring the 2nd annual Roots Picnic Celebrity Basketball Game hosted by Gillie and Wallo267.

By Saturday, the live music lineup read like a love letter to Black music history. Early sets from modern innovators like Beano French, Sasha Keable, and Destin Conrad set a soulful tone, while icons like De La Soul and Bilal reminded everyone why they are foundational to our collective soundtrack. R&B icon Brandy made her highly anticipated Roots Picnic debut with an incredible, no-skips performance, even bringing out Monica to the stage for a very special performance of “So Gone”. 

We also witnessed a thunderous, commemorative "50 Years of Go-Go" set and a legendary block party for the ages hosted by DJ Jazzy Jeff with Black Thought, Schoolly D, Tuff Crew, Robbie B, and Malika Love all joined in.

But history was officially made on Saturday night when the legendary The Roots crew backed JAŸ-Z for an epic headlining set, celebrating the 30th anniversary of his debut project, Reasonable Doubt. The moment he stepped on stage, Philly briefly transformed into New York. The performance was historic curation. JAŸ-Z brought out a rotating door of icons such as  Philly’s own Meek Mill, the incomparable Jazmine Sullivan, and a legendary State Property reunion featuring Memphis Bleek, Beanie Sigel, Peedi Crakk, Freeway, and Young Gunz that had the entire crowd losing its mind. To keep the energy at a fever pitch, Jermaine Dupri brought out his own deep catalog of friends, including Bow Wow, Da Brat, Sean P East, and Dem Franchize Boyz.

If Day One was about explosive, historic hip-hop moments, Day Two was about deep-rooted community and spiritual ascension. The second day was just as packed, just as vibrant, and carried that same undeniable, fashion-forward cookout energy. People lounged on their blow-up couches, laughed, and ate from an incredible array of food trucks.

The stage stayed hot with dynamic performances from Mariah the Scientist, Joe Kay, Corinne Bailey Rae, KWN, and Amir Ali. Hip-hop legend T.I. brought the house down with a career-spanning performance, and R&B phenom Kehlani made a triumphant return to the Roots Picnic stage for the first time in a decade. A major highlight of the afternoon was a gorgeous tribute set hosted by Adam Blackstone, honoring the 30th anniversary of the Waiting to Exhale soundtrack, which brought Yolanda Adams, Ledisi, Tamar Braxton, and Andra Day to the stage for breathtaking renditions of the film’s iconic tracks. Right after, Black Thought and Wale hosted the annual fan-favorite, J.Period Live Mixtape set.

‍But a festival this intentional required a closing performer who could ground the entire weekend's emotional weight. Enter the GRAMMY® Award-winning Queen of Neo Soul, Erykah Badu who created a super-galactic, otherworldly experience.

‍Her immersive set felt less like a traditional performance and more like a collective psychedelic trip an immersive, sonic journey that only she could possibly deliver, proving once again why she is simply in a league of her own. It was a genius programming choice for the final hours of the festival. Her performance was impactful, monumental, and deeply spiritual. It took the grounded, earthy energy of the weekend and shot it directly into the stratosphere.

‍The Roots Picnic isn't just a festival you attend to check artists off a bucket list. Backed by Live Nation Urban, it has cemented itself as a cornerstone of the culture and a major staple within the Black community. It is an intentional, beautifully curated ecosystem that reminds us of the power of coming together for one common cause: music, love, and a damn good time.

The memories made on these grounds stick to your ribs like good cookout food. You can bet every cent that I will certainly be back next year.

Photography by Danaér

On his latest seven-track project, the Nigerian-born artist bypasses contemporary romance clichés to craft a deeply spiritual, un-skippable love story.

Mannywellz has delivered a project that feels profoundly honest, structurally intentional, and fiercely strong. Small Chops is a beautifully curated, seven-song love story that elevates modern romance into something deeply spiritual. Grounded firmly in classic R&B and pure soul, Mannywellz subtly colours his arrangements with rich jazz inflections and West African rhythmic textures, creating an elevated sonic palette that is both effortlessly sexy and masterfully sophisticated.

The journey begins with "Do You," an opening track with production so buttery and fluid it feels like silk to the ears, immediately setting a luxurious tone for the rest of the project. From there, the album flows seamlessly into "How It Feels," a brilliant display of musical contrast and an absolute standout. I still remember first hearing a snippet of this track on TikTok and instantly thinking, “this song is absolutely everything”. I knew right then I needed to hear the rest of it, and the full version does not disappoint. What makes the track so captivating is how beautifully Mannywellz’s rich Nigerian heritage naturally shines through his vocals; you can clearly hear the elegant cadence of his native accent, adding an organic warmth and authenticity to the music. He weaves a gorgeous tapestry of jazz, rhythm and blues, and deep soul, creating an undeniable foundation for Wale to step into. Wale’s signature flow wraps around the rhythm beautifully, cementing the fact that this track is a definitive hit. Along with "Holy Father," it is easily one of my two favorite tracks on the entire project.

The emotional and lyrical center piece of the album arrives with "Holy Father." Rather than relying on standard, surface-level tropes of romance, Mannywellz bypasses contemporary clichés to dive straight into the soul. He uses the track to thank God for the very creation of his muse. It is, without question, one of the highest compliments penned in modern music. By praising the Creator for the perfection, complexity, and beauty of the woman he loves, he elevates her far beyond mere physical attraction. This approach strips away insecurity. It declares that she is superb, exceptional, and divinely designed. To thank God for a partner's existence is a profound act of devotion that carries far more weight than a simple "I love you."

The album reaches its climax and conclusion with "Wow," a track that bravely subverts expectations of how men express desire. While media often reserves "movie-like," sweeping cinematic romances for the female gaze, Mannywellz steps into the light to voice his own deepest longings. He openly asks for a love so breathtaking it leaves him speechless, offering a rare, vulnerable glimpse into the male psyche. It serves as a beautiful reminder that men, too, crave that awe-inspiring, magical kind of intimacy.

With its rich melodic layers, impeccable mixing, and sensual storytelling, "Small Chops" is a flawless compilation of R&B and soul. At just seven songs, it leaves you entirely captivated and entirely greedy marveling at the sheer depth of Mannywellz's musical tool belt. This is an elevated, deeply felt experience that commands your undivided attention, begging to be left on an unbroken, un-skippable loop.

From Bouyon, Konpa to Zouk: sounds of the French Antilles are taking over this summer

On July 1st 2023, Yardland was set to launch its first festival at Parc de Choisy in Paris, two days of a trailblazing line-up, which I hoped would be my big breakthrough as a freelance journalist. Unfortunately, due to the tragic murder of 17-year-old Nahel Merzouk on June 27th, followed by an outbreak of riots, the festival was cancelled altogether. I found myself in the middle of a French-Martinique household in the outskirts of the city, wondering how else I was going to spend the remainder of my trip in the comfort and safety of their home.

It was during this particular summer that I was formally introduced to Zouk, a musical style originating in the French Antilles, namely Guadeloupe and Martinique. Its slow pace and low-dance hip rhythmic felt familiar; however, nothing I could previously translate into words. With the guidance of the accommodating family, I spent my days listening through some of the Zouk classics, braising with the smell of rum in the background, fully unaware of the sonic world I had just entered.

Growing up in a French-speaking house, the Francophone diaspora was always within reach, and it wasn’t so long that one was listening to Confidence by Kim, for example, a French-Martinique singer who rose to prominence at the Fête de la Musique in 2004. In my naivety, I had convinced myself that any diasporic movement charting in France was Congolese-influenced, and anything remotely afro-inspired in the UK was Nigerian. Surely Jamaican riddims, such as Dancehall and reggae, made it through our cross-cultural environment back when I was still living in South East London. Legends like Bob Marley and Vybz Kartel were a staple in everybody’s diet, regardless of whether our background was Caribbean or African. Yet, I rarely remember Francophone Caribbeans receiving their flowers for the role they played in also reshaping modern Afropop.

Today, their musical resonance is everywhere in the work of the Queen of France, Aya Nakamura, who is of Malian descent, her French-Congolese protégé Theodora, underground rap act 63OG, of Cameroonian origins, French-Cameroon Tayc and his musical universe of Afro-love, and French-Congolese ‘Jaloux’ singer Dadju. Even all the way in Kenya, singer-songwriter Bien had become a recent participant. Not only are Caribbean music styles, like Dominican Bouyon, Haitian Konpa and Martinique Zouk, having a resurgence, but they have been quietly influencing some of the most popular Francophone Afropop music for decades. Deeds Magazine selected their top 3 picks that you may not have known were infused with the West Indies’ most popular dance music.

Aya Nakamura - Copines

Arguably, French-Malian Afropop singer Aya Nakamura’s 2018 breakout hit ‘Copines’ is the biggest song in her career thus far. However, did you know that the drums' soothing groove on the track can be traced to Zouk music? As one of the lead figures of modern Francophone Afropop, Aya has always made use of elements from both Zouk and Konpa to unveil her musical soundscape. Produced by powerhouse French-Congolese Julio Masidi, the multiple award-winning, breaking-hit track sits between Afropop, R&B, and Zouk. Some of the influences we could imagine a young Aya raised in Saint-Denis (also known as “93”) absorbed throughout its multi-cultural pot, where Caribbean and African influences due to its diaspora all intertwine.

Theodora - KONGOLESE SOUS BBL

One of French-Congolese Aforfusion singer Theodora's biggest 2024 hit songs to date, ‘KONGOLESE SOUS BBL’, has catapulted her ever since to major stardom. What many listeners may ignore, however, is that the track is deeply rooted in Bouyon music. Originating in Dominica in the late 80s, its distinctive, rapid drum pattern is almost always recognisable, sparking the interest of fellow collaborator 63OG in ‘ruiné (comme un dj),’ who revealed to have been his main inspiration. Despite its lyrical content clearly nudging Theodora’s Congolese roots, produced by her own brother Jeez Suave, the song fuses Dominica’s popular music to boost this cross-continental dance anthem.

Joé Dwèt Filé - 4 Kampé

Perhaps the song of last summer, ‘4 Kampé’ by French-Haitian Konpa singer Joé Dwèt Filé, shouldn’t come as a surprise that he is undoubtedly woven to his roots. Konpa, a dance genre that originated from Haiti in the late 50s, is Joé’s makeup through and through. With the mélange of R&B and Afropop, he is able to retouch the signature sound with a modern approach, making the genre’s rise to watch closely in the coming years. Joé can be vastly credited for the popularization of Konpa in the diaspora and beyond.

Talks Behind the Noise

One of the main online discourses surrounding the recent surge of the French Antilles regional sounds is that a lot of foreign artists are accused of copying their arrangements, however, without fully crediting the original genres. This has sparked Caribbeans and members of the diaspora to flood the internet with tweets, Instagram comments and TikTok reels demanding their influence to be rightfully acknowledged and legitimately recognized. Not only as a source of inspiration in the modern arena, but also as the main influence to popularize Francophone Afropop and beyond.

Nothing is new under the sun. I think what we’re seeing is different regions battling for international dominance. After the rise of Afrobeats in the early 2020s, it felt as though the skies were the limit. Any member of a niche community now has the opportunity to place their culture on the world map. Little do we need to be reminded that not too long ago, Dancehall was under a similar trajectory in the early 2000s. The answer lies not in our differences, but in coming together to amplify our communities.

Take Fally Ipupa’s feature ‘Doucement’ with Joé Dwèt Filé, for example; they have managed to garner more attention and make more noise together than they would have ever done separately. The collaboration doesn’t feel forced or imbalanced; it is a genuine mashup of two sounds, a heartfelt connection between two regions, Haiti and the Democratic Republic of the Congo, which have a long historical context and unbreakable synergy. The same can be said of Joé Dwèt Filé and Aya Nakamuru joining forces in ‘Baddies.’ It is almost like the world’s colliding from the back of decades of mingling and interacting with one another, both in the diaspora and each sonic landscape.

So are the sounds of French Antilles taking over? The truth is, they have had an imprint for decades, and it is only the rest of the world just catching up. One could say that they are finally getting the global recognition they deserve, and we are all here for it.

The duo, made up of April George and Matthew Thompson, brings a genre-defying album that features sounds familiar to fans of the duo, who came onto the music scene back in 2014. The album itself speaks to a sense of nostalgia, addressing growth and navigation, how the two have transformed as artists, their current state, how global events have impacted them, and how things have shifted post-pandemic. It also includes personal explorations of letting go of trauma and embracing a chapter in their personal and professional journeys. 

This is set against the backdrop of their sounds, which can't really be confined to a single sound but rather a fusion of various influences they carry and have infused into their music, specifically on this album. The melodies that flow across the eleven tracks really showcase this variety, not only sonically but also lyrically, as they tell the stories that have brought them to this point in their career.

April & Matt took us through the album, breaking down each track and explaining how the album came to be.

‍“HELLO”

APRIL GEORGE: We wanted to treat the opening track like a score to set the scene and tone for the album. The sweet, sweeping strings gently place you in the middle of our chaotic world and give you a brief moment to breathe before “Very Bad News” detonates in your face.

MATT THOMPSON: The “hello” samples come from our friends and family. We started using these to open our live sets and to ground ourselves before we began playing. After tour, we knew we needed it to open our album. 

‍“VERY BAD NEWS”

APRIL GEORGE: This song is a sonic explosion, meant to catch you off guard and throw you into the fiery energy of our pure rage. It opens up with a computer voice that sounds almost like one of those esoteric self-help tapes from the 80s. The lyrics were born from my frustration with feeling trapped in the capitalist rat race. I’ve worked a 9-to-5 job while simultaneously pursuing music ever since we started, and needing to do so has bred a lot of frustration for me. When I commute to work, I have a lot of time to think about how cornered I feel, how cornered many of the 99% truly are, some unknowingly. One day, I found myself meditating on the idiom “a fish rots from the head down” and how it reflects the times we’re living in. Very Bad News is a middle finger to the corrupt people and systems that have us all in their tight grip.

“DO WHAT YOU KNOW”

APRIL GEORGE: Do What You Know is an ode to my childhood self; I wanted her to know that life gets better and that we eventually muster up the courage to pursue our dreams. It’s also a reminder that sticking to the virtues that you’re raised on, staying in lockstep with your moral compass, will take you far. It’s funny how all of the cliché bits you might brush off when you’re younger turn out to be pillars that you cling to in your adult life.

MATT THOMPSON: It’s a simple alt-pop tune with a ton of nuance and subtle complexity. It’s our attempt at making a traditional pop record which, funny enough, just so happens to be full of noise. 

‍“TWO EVERGREENS”

APRIL GEORGE: This song is very close to my heart; it’s about my grandmother, Elsie Wilson, who passed away. She encouraged me to be a musician and bought me my first violin; I still play it to this day and named it after her in her honour. I grew up in her home in Portsmouth, VA; she lived in a small ranch-style house bookended by two evergreen trees. I’d climb them as a child in the summer months and get sap all on my hands. Her home meant safety to me, and that warm, all-encompassing feeling inspired the lyrics.

MATT THOMPSON: We initially wrote this song to a different arrangement years prior, and it didn’t quite stick. When I found it in our scrapped drafts, I knew it needed to be heard, so I spruced up the composition, broke out my $50 second-hand acoustic guitar and even sang a little background vocals. Ultimately, I needed to give April all the space she needed to tell her story. 

‍“STANDING IN PLACE”

APRIL GEORGE: Disorder is as beautiful as it is terrifying. It’s a lesson every artist learns when journeying through the not-so-glamorous parts of their career: you have to get comfortable with walking confidently through the dark; doing it scared is the only way you will get to where you belong. We see this song as a sort of final goodbye to our past selves as we evolve and transition into a new form. 

MATT THOMPSON: This one has a maddening time signature that probably drove our drummer, Foots, insane when we recorded it. We threw everything into this record, including 4 of our talented friends who became our choir. 

‍“ROT”

‍APRIL GEORGE: This interlude serves as a palette cleanser right before you dive into the rest of the album; it’s a short experimental motif that we treated like a micro-score. At the time, we were reading a beautiful graphic novel called Stages Of Rot by Linnea Sterte. It takes you thousands of years into the future and chronicles how alien organisms and humanoids on another planet live within their extraterrestrial ecosystem. It centres around a whale-like alien that died and shows how its carcass feeds the ecosystem and organisms that need sustenance. It got me thinking about dilapidation and preservation, about how time is the devourer of things, and about how this album is a fossilisation of our essence and identities as artists.

MATT THOMPSON: We have a bunch of these ambient pieces that we planned to include on the album, and this is one of the interludes that stuck. I love the scratchy melody and the textures that bounce around. It makes me feel like I’m in an old pinball machine.

‍“BLESS MY HEART”

APRIL GEORGE: This song features our good friend Tony Kill, who we worked with on our EP You Are Here in 2018. It’s an ode to our favourite bands growing up like Gorillaz, Stereolab, and At The Drive In. We admire how they can wrap heavy subject matter in layers of surrealism, shielding it from sounding preachy or forced. Living in the D.C. area - so close to the heart of American politics - makes it hard not to doomscroll your way into despair. This song is our way of reckoning with what it feels like to spin beneath the heavy hand of capitalism.

“LOVE UNSPENT”

APRIL GEORGE: This song is another one that’s dear to me; during the pandemic, two of my friends passed away, and I found myself thinking about my relationship with grief. I stumbled upon the ball-in-a-box analogy, which states that we grow around the grief we hold. It never disappears; rather, it becomes a part of you, evolving with you. The lyrics spilt out from there. 

‍MATT THOMPSON: Very heavy Curtis Mayfield influence here. Specifically his live rendition of “The Makings of You” performed at the Bitter End. We were inspired by 70s soul quite a bit throughout the writing of this album, and I think it’s most apparent here. 

‍“GROTTO”

APRIL GEORGE: After finishing our EP Pit of My Dreams, we found ourselves at a crossroads. The pandemic forced us to be still after years of pushing, and we found ourselves looking for comfort and reassurance that we were on the right track. Rejecting projections of doubt from others and standing firm in the belief that you’re enough on your own brings you closer to that kind of reassurance. This song bloomed from that realisation.

‍MATT THOMPSON: It’s the first song that we wrote for Traditional Noise, and it reignited our will to keep going. We were directionless after Pit of My Dreams. After I stumbled upon the guitar melody, and April sang that first bar, everything became clear.

‍“MODIFY YOUR TRADITION”

‍APRIL GEORGE: This is another micro-score, a final vignette before we close the album. Matt wrote a passage about tradition that illuminates the album's core theme. It says “The thing about tradition, it’s all around you… it silences, it pierces, it compels, it restricts.. it’s safe.” 

MATT THOMPSON: This interlude is a reflection of the album’s core theme. We’re fascinated by the idea of tradition and how it informs our faith, our fears, our perception of the world, and how the world perceives us. It can be a safe harbour or a cage.

“MORNING STAR”

APRIL GEORGE: Morning Star is about ancestry; I found myself meditating on what kinds of words, songs, ideas I wanted to leave behind for generations after us. I thought deeply about my heritage as a Black American growing up in the American South, about all of the suffering that my people went through and how we overcame incredible odds. This song is a requiem for those who died before us; when you think of a morning star, you can either think of the weapon of war or the North Star, a signal of hope and freedom for the enslaved. My sister is a clinical psychologist, and she taught me a lot about epigenetics around the time we were writing this record. I learned that the trauma that we face in our ancestry gets passed down through our DNA. While I wrote, I thought about how not only has generational trauma made its way through my lineage, but also how incredible resilience and strength have been passed down through our DNA as well.

MATT THOMPSON: The first version of this song has a beat on it, and it goes crazy, but, like “Two Evergreens”, additional production would only distract from the core theme of this record. The beat is really crazy though…

History-making British-Nigerian rapper, producer, and songwriter Dave, also known as Santan Dave, will headline his first-ever shows in Nigeria on October 16 and 17 at Lagos' Wole Soyinka Centre for Culture and Creative Arts (formerly the National Theatre), bringing his acclaimed The Boy Who Played the Harp tour to a close.

Presented by Live Nation and MASSIVE, the highly anticipated performances represent a significant moment for both Dave and Nigerian audiences. Long celebrated for its unmatched energy, creativity, and influence across music, fashion, nightlife, and art, Lagos continues to shape global culture through the worldwide impact of Afrobeats and a new generation of African creatives redefining entertainment on a global stage. The shows bring one of the most important voices in contemporary British music to one of Africa's most culturally influential cities.

The announcement also comes during a significant cultural moment for the city, following the reopening and renewed spotlight on the iconic Wole Soyinka Center for Culture and Creative Arts (formerly and commonly known as the National Theatre) in Lagos, a historic symbol of Nigeria’s artistic heritage and an important marker of the city’s evolving live entertainment landscape. The performances further reinforce Lagos’ growing position as a global destination for music, entertainment, and large-scale cultural experiences.

The Lagos dates will serve as the closing shows of his global The Boy Who Played the Harp tour, which has included major stops across Europe and North America, as well as previously announced dates in South Africa, including a sold-out show at Grand Arena in Cape Town on October 6. For the British-Nigerian artist, whose parents are Nigerian, the performances also carry a deeper cultural significance. At just 27 years old, Dave has become one of the most influential artists of his generation and recently made history as the first and only UK rap artist to debut three consecutive studio albums at No. 1 on the UK Albums Chart. With multiple BRIT Awards, an Ivor Novello Award, critically acclaimed projects, and sold-out shows around the world, he continues to connect with audiences across continents.

TICKETS: Tickets will be available starting with the Artist Presale beginning on Monday, 8th June at 10 am local time. The general onsale will begin on Tuesday, 9th June at 10 am local time exclusively via SANTANDAVE.COM.

PRESALE: To participate in the artist presale on Monday, June 8 at 10am local time you must sign up at  https://santandave.lnk.to/Lagos 

THE BOY WHO PLAYED THE HARP TOUR DATES: 

Wed Jun 18 – Brisbane, AU – Brisbane Entertainment Centre
Fri Jun 20 – Sydney, AU – Qudos Bank Arena
Mon Jun 23 – Melbourne, AU – Rod Laver Arena
Fri Jun 27 – Perth, AU – RAC Arena
Thu Aug 07 – Skanderborg, DK – Smukfest
Fri Aug 29 – Reading, UK – Reading Festival
Sat Aug 30 – Leeds, UK – Leeds Festival
Fri Oct 03 – Pretoria, ZA – SunBet Arena
Mon Oct 06 – Cape Town, ZA – Grand Arena
Fri Oct 16 – Lagos, Nigeria – Wole Soyinka Center for Culture and Creative Arts  NEW DATE 
Sat Oct 17 – Lagos, Nigeria – Wole Soyinka Center for Culture and Creative Arts NEW DATE 

As early as 7am every third day after Eid al-Kabir, Ijebuland, Ogun State, awakens to celebrate the Ojude Oba festival. Ojude Oba (meaning "the king's forecourt), was known as far back as the 1800s to be a modest gathering of Muslim faithfuls in Ijebuland expressing gratitude to the Awujale for allowing them to practice Islam freely. However, since 2024, when the festival gained wide social notoriety, Ojude Oba has become a phenomenon bigger than the festival itself, sparking up conversations about wealth, culture, and fashion. However, the internet portrays Ojude Oba by focusing more on the Baloguns (warlords), respected family figures and older culture custodians. Little attention is given to the younger generation who are expected to inherit it. This then questions the sustainability of Ojude Oba in the hands of the contemporary younger custodians, asking what parts will they preserve, inherit and reshape. 

We started the search for answers at a 7am breakfast we were invited to interview Otunba Abiodun Onanuga, the Giwa (head) of the Bobakeye Okunrin Akile-Ijebu, one of the many age grades in Ijebuland, for, as it turned out, our only meal for the day. Rich with common party food staples like rice and stew, eba and Ijebu egusi stew as well as bread and egg, the breakfast was probably one of many such pre-Ojude Oba ritual held by regberegbe(s), the age-grade groups behind the Ojude Oba's continued existence. 

Aside from the delicacies and watching people eat shoulder to shoulder, we were able to catch a glimpse of the business partnerships, friendships and careers, each built over more than thirty years, expressing themselves. For the generation at this breakfast, Ojude Oba was more than showing off their culture’s uniqueness, but a chance to come together to celebrate the religion and traditions that had built the close-knit community of Ijebuland in a spectacular way and to give thanks for this. But what do the younger generation know?

As though sensing he needed more time to prepare for the festival, Otunba Onanuga suggested we come meet him at the stadium, where the festival was to take place. On our way there, we were able to take in the city’s transformation. From the Awujale Royal archway, built by Otunba’s egbe, the pulse of Ijebuland itself was palpable. Hairdressers were busily creating elaborate hairstyles and cornrows for last-minute attendees of the festival, roadside shoemakers were stitching the worn-out shoes of those responsible for putting up tents and canopies in place overnight, and market stalls were moaning beneath mountains of merchandise and faux jewellery they sold, erected by owners to tap into the economic value that came with being at Ojude Oba.

We were just in time to catch the grand entrances of the various regberegbes, both male and female, and all adorned with chieftaincy beads and symbolic wooden staffs, gaits that reflect their cultural pride, and aso-oke that commands the attention of onlookers. There’s also no forgetting the shots fired from locally made guns, which sent white smoke into the air to tell the audience of the arrival of each Balogun family. This is Ojude Oba, more than 100 years old, run by an older generation with their years of cultural experience, knowledge and wisdom. 

This was definitely intimidating to us as outsiders looking in, but it seems, in conversation with Tadenikawo Alatishe, a descendant of the Balogun Alatishe family, one of the many families behind, at his ancestral home in preparation for his yearly horse riding showcase, his generation is also up to the task. “Ojude Oba means me carrying out my forefathers' legacy because they fought for Balogun and us Alatishe, who is the longest reigning Balogun in Ijebuland, so Ojude Oba means me carrying on the pride of my forefathers.” This coincides with what Fasanmi Afolabi of the Osi Balogun Adesoye, better known as Folastag, tells us. “Ojude Oba feels like Christmas to me. It's a tradition, and because it's something I have experienced for over 20 years, it's almost like a part of me. It's something I look forward to every year” 

Otunba Onanuga gave us a bigger picture.“It has been in existence for over 200 years. It's an age-long thing handed from generation to generation, and our group started coming here to pay homage to the Awujale of Ijebuland 30 years ago. The objective and main purpose is to appreciate God and to come and show appreciation and solidarity with our king, the Awujale, the paramount ruler of Ijebuland”. From these responses, we notice that beyond the public celebration, Ojude Oba is a festival that displays familial legacy, personal attachment, and cultural responsibility that members of the younger generation hold themselves to as it concerns Ojude Oba.

Yet, optimism is easier to declare than verify. Younger generations reinterpret traditions rather than inheriting them unchanged, like how we’ve reinvented traditional marriage rites with unconventional wedding choices such as shorter ceremonies and smaller guest lists. This then asks if love for tradition, lacking the deep institutional knowledge of elders, would be enough for Ojude Oba to survive into the next generation. Tadenikawo believes, presently, that the festival matters to the youths just as much, seeing as they “didn’t care so much about Ojude Oba, only the elders. But for the past few years, like 4 - 5 years ago, there’s been encouragement for the youths because if there are no youths involved, the festival would die off. If you check, there are young people riding horses now”. 

Folastag tells us he is just as confident, although from a pragmatic perspective. “I feel like it can survive the generations to come, especially with the pickup it had with social media, where young people thrive a lot. I feel like young people are looking to tap into it more because it's exciting: the horses, the clothes, as well as the vibes that come with it”. His photographs defined Ojude Oba’s virality in 2024, bringing the festival to the attention of audiences outside Nigeria. Otunba Onanuga answers that “It is a day when all the sons and daughters of Ijebuland all over the world come to appreciate the king, and we have taken it to another level. Ojude Oba has come of age now as an international festival exhibiting our cultural values...” 

The economics also bear mentioning, as preparation for the festival takes place months prior. Calls are placed to fashion designers and tailors, and preparations are made for accommodation. The horses for the event are sourced from the famed equestrian markets of Kano and Maiduguri. Nigeria’s economy hasn’t been a favorable one in recent years, yet for the elders, this does not seem to diminish their ability to move between economic and financial shelves with the ease of muscle memory to orchestrate the festival. Tadenikawo believes that his generation is also up to task because, as he tells us, “they’ll be able to because, for you to come from a royal family, even though you may not be financially capable, your family would be willing to support you”. Folastag equally supports this notion, noting how young people are always ready to spend on “things that are not like Ojude Oba, young people spend on them. Things that'll get people to talk,” further mentioning that “A lot of people save like a whole year just to be a part of it”.

For Otunba Onanuga, the expenditure matters little compared to the economic value that comes with the festival itself, as Ojude Oba, “If you know the commercial value it adds to Ijebuland, it is immeasurable. It is a festival that generates revenue for the locals. The apparel we’re wearing now, for example, is made and sewn in Ijebuland. And those people making the apparel, you can imagine how much they’ll make. I can tell you that the tailors who made our clothes must have collected over ₦1,000,000,000, and so also many other people”. This then reminds me of the hairdressers and jewellery sellers we saw earlier in the day. Ojude Oba means more than cultural duty. Rather, it is an economic institution that sustains livelihoods, one that the younger generation can’t imagine life without and are ready to do what it takes for its survival.

If there is one thing Ojude Oba has demonstrated in recent years, which we also noticed, it’s that tradition can not exist in isolation from change, which Tadenikawo traces to “2024 was the year Ojude Oba garnered a lot of recognition. From the onset, the festival didn’t really have a lot of outside interest. Only people from Ijebu were interested until Folastag took pictures of Farouq Oreagba in 2024, and it went viral. In 2025, the virality brought so much crowd that everywhere was choked; people and horses fainted”. While the increased attention has elevated Ojude Oba's profile far beyond Ijebuland, it has also introduced concerns about managing a festival that now attracts audiences much larger than those it was originally designed to accommodate.

Folastag, who is responsible for that virality, shares a similar observation. “The changes I have noticed are both good and bad. In terms of good, the festival is bigger, wider and louder now. A lot of people want to be a part of it. The bad part is that people just want to join for clout, especially people who don’t even know the story behind it. Another bad thing might be that the space is getting smaller. I am hoping that next year, they find a bigger spot to make it happen.” 

For Otunba Onanuga, however, the most important change lies not in virality but in participation. He points to the increasing involvement of younger people as evidence that the festival continues to resonate across generations. “The younger people are getting more interested by the day. You can see that the regberegbe continues to spring up. Now, we came out 30 years ago, and you can imagine how many more egbes that have come out after us. Now we have over 50 regberegbes now, and that is 50 main branches, and there’s over 100 groups within the regberegbe. That is to let you know that the younger ones are getting more and more interested, and we’re passing down those values to them.” These replies tell us that while Ojude Oba may look different from how it did decades ago, its ability to attract new participants remains one of its greatest strengths. However, the challenge is not whether change will come, but how it will be managed.

Asking each of them what should change and what shouldn’t, an agreement can be implied, firstly, from Folastag, who feels that preserving the essence of the festival is important, seeing as “a lot of parts may not change because it is what it is: it is tradition; it is culture. By the time you start removing some parts and fine-tuning it, we would lose the essence of Ojude Oba itself, and it might start becoming something else.”

Rather than changing the traditions themselves, Tadenikawo believes attention should focus on accommodating more participants and spectators. “We are talking to the committee to expand the venue since more people are attending the event. Before, people rode on horses for prestige and position; now, everyone wants to ride for the fun of it,” describing to us how the motivations of participants may evolve, even when the traditions themselves remain intact. Otunba Onanuga impressed on us the fact that evolution is not something to be resisted but embraced. “We’ll continue to improve. Ojude Oba is a dynamic festival which continues to improve year after year. What we did last year is different from what we are doing this year, and what we’ll do the year after would be better than this year.” Taken together, these perspectives suggest that the future of Ojude Oba lies in balancing continuity with adaptation through preserving the values that define the festival while responding to the realities of its growing popularity.

This balance becomes even more important when considering the future generations that will inherit the festival in years to come. Beyond participation, the question remains: what will make future generations feel that Ojude Oba belongs to them rather than simply being a tradition passed down by their elders? Otunba Onanuga believes the answer lies in embracing the possibilities of how quickly our world changes. “The world is growing more [technologically]. 30 years ago, we didn’t have social media. Nowadays, social media is coming in. We don’t know what is going to come in the next couple of years.” Folastag believes that attachment to the festival is often built through experience and participation over time. “The excitement, the joy, the nostalgia that comes with it, because for me now, every year, I’m always around in Ijebu. This year is the first time I’m coming to the event on the day of the event. I’m usually around 2 weeks prior. I was like, I didn’t want to come, but calls were coming in that won’t I come? And because I’ve been a part of it as a child and they’ve seen me over time participate in it, they still want me to be a part of it. I feel like if more people add to it, I feel more young people would want to join and be part of it.”

For Tadenikawo, however, the future of Ojude Oba ultimately depends on knowledge and continuity. “We have like 26 families, 18 Eleshins, non-Baloguns who followed the lead of the Baloguns in ancient wars, and then 10 Baloguns. Until the early 2000s, there was no distinction between them. So, the younger generations would need to inherit it from their forefathers to be able to know of the traditions of the festival that existed before they were conceived; that way, it stays intact and still feels like their own.” In many ways, their responses arrive at the same conclusion: either through technology, participation or inherited knowledge, Ojude Oba would continue. More importantly, future generations would be eager to inherit Ojude Oba based on the precedent already laid down. The horses will continue to ride, the regberegbes will continue to gather, homage will still be paid to the Awujale and, more importantly, the next generation will remain eager to carry it on, suggesting very interesting times ahead for Ojude Oba.

IG: @anuhola_,@muyiwavstheopp

For years, Starsamm has been building in plain sight. Long before the Nigerian singer-songwriter emerged as one of Afropop's most promising new voices, he was quietly refining his craft behind the scenes–writing songs, developing his sound, and earning the respect of industry insiders who recognized his potential early.

Born Samuel Iseoluwa Awelewa in Osun State, Nigeria, the budding artist’s journey eventually led to a songwriting credit on a Grammy-nominated record, ‘Tomorrow’ by Yemi Alade. This milestone reaffirmed his belief that the years of sacrifice were beginning to pay off. It also helped pave the way for his signing to KeyQaad, the influential Nigerian label known for nurturing distinctive voices such as Omah Lay and Kaestyle.

Since then, Starsamm has steadily carved out a lane of his own. His 2025 debut EP, ‘Love Is War,’ introduced listeners to a young artist documenting romance, longing, and self-discovery in real time. But on ‘Dawn’, his latest project, the perspective shifts. Written during a period marked by personal change, mounting expectations, heartbreak, and sobriety, the EP captures an artist learning how to navigate a new phase of life while remaining emotionally transparent.

In conversation with Deeds, Starsamm reflects on growing up in Osun State, moving to Lagos in pursuit of music, finding his voice through vulnerability, and why ‘Dawn’ represents far more than a new release–it marks the beginning of a new chapter.

Stanley for Deeds Magazine: Right now, in this exact season of your life, who is Samuel when the music is off, and nobody’s watching?

I've always been a family man. A lot of what fuels my hustle is wanting to take care of the people around me. When I'm not making music or out on the road, I'm usually at home trying to build real connections with the people I love. Life on the road ends on the road. Eventually, you have to come back home and connect with your people. I never want my family to feel like Sam only shows up when things aren't going well. I want to be present all the time. That's important to me.

Before there was Starsamm, there was Samuel. What kind of kid were you growing up?

I grew up in Osun State before moving to Lagos when I was around 14 or 15. I've always been a quiet person. Looking back, I spent a lot of time observing people and paying attention to my surroundings. Now that I'm older, I realise some of that was probably ADHD. I was constantly taking mental notes about what was happening around me. Whenever I wanted to express myself, I tended to do it intensely, and sometimes that made me retreat into my shell. So I became the kid who watched everything.

What first made music feel personal to you?

Church was where music became personal. I joined a dance-drama group where people would act on stage while others sang alongside the performance. Watching storytelling and music come together fascinated me. I wanted to be part of it. What's funny is that I wasn't actively listening to a lot of mainstream artists at the time. Most of my friends sounded like the artists they loved. They sounded like Wizkid, Kizz Daniel or Patoranking. I didn't really know those artists well enough to imitate them, so whatever I wrote came directly from me. Looking back, I think that's one of the reasons my music developed its own identity early.

When did music stop being something you loved and start becoming something you needed to pursue?

It happened naturally. I didn't wake up one day and decide I was going to be an artist. I just realised that whenever there were rhythms, melodies, or opportunities to create, I wanted to be involved. When I recorded my first song, I actually hid it from my dad for years because I didn't want to get in trouble. Later, I moved from Osun to Lagos to pursue the dream more seriously. For a teenager, that was a huge decision.

At first, my family worried about stability. They encouraged me to find a job alongside

You spent years building before wider recognition came. What did those years teach you?

It felt like I was writing a story. Leaving my state, moving to Lagos, attending music school, hustling and trying to survive–it all felt like chapters in something bigger. There were moments when I was exhausted. I wasn't going to quit, but I was definitely getting tired. Working with Yemi Alade changed everything for me. When a song I contributed to received Grammy recognition, it shifted something in my mind. I remember thinking: if something I actively worked on can reach that level, then this is only the tip of the iceberg. It reminded me that I was doing something right and that I needed to keep going.

Was there ever a moment when you questioned whether all of this would work out?

Of course. Unless you're completely delusional, everybody has those moments. There are nights when you're staring at the ceiling at 3 a.m., wondering whether you're on the right path. I've had those moments too. But eventually I stopped thinking only about results. Music became my way of life. I started viewing my career as a story that was still being written. Years from now, I won't just look back at songs. I'll look back at memories, sacrifices, lessons, and experiences. That perspective helps me push through uncertainty. Even today, I sometimes look back and think, "I can't believe I've made it this far."

A lot of people describe your music as incredibly vulnerable and emotionally honest. Was that always natural for you, or has music helped you become more open?

Not really. Earlier in my career, I spent a lot of time writing from other people's perspectives. I would take their stories and personalise them. But eventually I started losing myself in that process. The only way out was to become more honest about my own reality. I realised creativity is strongest when it comes from your own point of view. Once I stopped hiding behind other people's stories and started writing about what I was actually experiencing, everything changed.

Why is vulnerability so important to your music?

I think honesty is how you build community. A lot of people want escapism, especially in a place like Nigeria, where life can be difficult. But if you want longevity, you have to give people something deeper than entertainment. When I started meeting fans, I noticed they would open up to me emotionally. Strangers would tell me things they were going through because they felt safe. I think that's because I've opened up in my music first. When people feel like you're being honest, they trust you. That's how real communities are built.

Which artists, whether Nigerian or global, have helped shape the way you think about songwriting and storytelling?

Ed Sheeran was a huge influence on me. He's one of the greatest songwriters I've ever listened to. Beyond the melodies, he tells stories that make people feel something. The Lumineers also had a big impact on me because of their songwriting. Then there was Omah Lay. Listening to him changed something for me creatively. He showed me that storytelling could be deeply Nigerian and still connect universally. Before that, I felt like my songwriting leaned very Western. Omah Lay helped me realise I could embrace my identity, my experiences, and my culture without sacrificing quality. That was a major turning point.

What made KeyQaad feel like the right home for you?

The funny thing is that it happened very naturally. My manager was at the KeyQaad office and played some of my music. One of the CEOs heard it from another room and asked who the artist was. They played more songs, and apparently, both CEOs immediately felt they needed to sign me. What attracted me to KeyQaad was how much they allow artists to remain themselves. There wasn't pressure to become someone else or chase a particular trend. They believed in who I already was, and that meant a lot to me. 

Your debut EP, Love Is War, and your latest project, Dawn, feel like two very different chapters. How do you view them now?

‘Love Is War’ came from a very different place in my life. At the time, I wasn't trying to make a project. I was simply documenting my experiences. I was in love, I was making music, and I was enjoying life. The songs reflected that. They were about relationships, emotions, arguments, happiness, and everything that came with it. After the project came out, life changed. Suddenly, there were expectations. There was pressure from the label, pressure from management, and pressure from myself. The same relationship that had inspired so much of the music became harder to sustain because my life was changing so quickly.

That's where ‘Dawn’ begins. It’s me deciding that I want to restart my life. I had achieved things I once thought were impossible, but I realised success also brings new challenges. I needed to learn how to live this new life and how to manage everything that came with it. Unlike ‘Love Is War,’ which happened naturally, ‘Dawn’ was a very conscious project. These songs came from late-night thoughts, difficult conversations, anxiety, heartbreak, and self-reflection.

I used to smoke heavily, and while working on the EP, I decided to get sober. That decision forced me to sit with my thoughts instead of escaping them. There were emotions I couldn't run from anymore. There were memories I had to confront. Songs like ‘Sober’ came directly from those moments. ‘Dawn’ became a record about clarity, acceptance, and learning how to move forward. For me, it's more than just another project. It's the beginning of a new version of myself.

What do you hope people take away from Dawn?

I want people to listen to my music from a first-person perspective. I want them to imagine that they're the ones speaking the words and feeling the emotions. If they do that, they'll understand what I was going through when I made these songs. More than anything, I want people to feel safe, to feel understood, and like they're listening to someone who understands what they're going through because he's lived through similar things himself. And moving forward, I want to keep exploring that through Afri-pop. I want to continue blending strong songwriting with African rhythms and sounds while telling stories that feel honest and personal. That's always been the goal!

IG:@_stanleykilonzo 

Summer is just getting started, but the past few weeks have already delivered a dense run of fashion and beauty moments that signal where culture is headed next. Between high-street power plays, beauty campaigns as art objects, and sportswear slipping further into luxury’s language, these highlights have blurred every remaining boundary between runway, pop culture, and internet spectacle. Here’s a run down of some exciting things you might have missed.

Team Haiti turns a football jersey into a cultural statement

As Haiti prepares for its first World Cup appearance in more than 50 years, Haitian-Italian designer Stella Jean unveiled a series of limited-edition, hand-stitched jerseys celebrating the occasion. Each jersey features the number 26 on the back in honour of the 2026 tournament, marking Haiti's return to football's biggest stage after last qualifying in 1974.

What began as a sporting celebration quickly found traction across fashion circles, with many praising the collection's blend of national pride and craftsmanship. 

MAC teams up with Painted by Esther and Olandria

Beauty conversations this week were dominated by the launch of MAC's new MACzine editorial project starring makeup artist Ngozi Esther Edeme, better known as Painted by Esther, alongside reality TV personality Olandria Carthen. The collaboration arrives at a moment when conversations around recognition and authorship in beauty remain particularly relevant. The campaign centres Esther's signature blush techniques while spotlighting Olandria as the face of the feature. The rollout was widely celebrated online, with fans praising MAC for highlighting Black beauty creatives and deeper skin tones at the centre of a major campaign.

Casablanca stages an Egyptian fantasy for Pre-Fall 2026

For its latest campaign, Casablanca swapped its usual tennis courts and resort landscapes for the monuments of Egypt. Starring model Georgia Palmer, the imagery draws on cinematic references like The Prince of Egypt, placing the collection against ancient architecture and desert landscapes. The campaign continues creative director Charaf Tajer's ongoing fascination with travel and storytelling, while showcasing the label's signature mix of tailoring, sportswear, and elevated leisurewear.

Bad Bunny x Zara pushes high-street into new territories

After months of teasing, Bad Bunny officially launched his collaboration with Zara online and in-stores worldwide. Titled Benito Antonio — a reference to the artist's full name, Benito Antonio Martínez Ocasio — the collection spans 150 pieces and was developed alongside his longtime creative director Janthony Oliveras and creative agency M/M Paris. The collection draws heavily from Puerto Rican culture, featuring oversized basics, tailoring, cargo styles, graphic tees, and lightweight summer pieces. Campaign imagery was photographed by Stillz in Puerto Rico, while a dedicated pop-up launched in San Juan ahead of the global release. 

A$AP Rocky's latest PUMA shoe arrives

A$AP Rocky and PUMA continued their partnership with the release of the Mostro 3.D Mule. First seen during Rocky's AWGE presentation at New York Fashion Week, the shoe reimagines PUMA's 1999 Mostro silhouette through 3D-printing technology. Available in black and gradient blue colourways, the mule retains the original Mostro's signature spiked sole while introducing an open-back design. The limited release launched globally on May 21 and quickly became one of the month's most discussed sneaker drops.

Olandria x Brandon Blackwood sells out in minutes

After the success of their first collaboration, Brandon Blackwood and Olandria reunited for a second accessories drop. Inspired by Olandria's self-described "Bama Barbie" aesthetic, the collection reintroduced fan-favourite pieces while blending feminine styling with Blackwood's contemporary approach to luxury accessories. The release sold out within minutes, reinforcing both Olandria's growing influence and the demand generated by their first collaboration.

Between World Cup jerseys, beauty editorials, celebrity collaborations, and sold-out accessories, the past few weeks have shown just how interconnected fashion, beauty, music, and sport have become. If this is any indication of what's ahead, summer is only getting started.

Thirty-three degrees is a dream for any Londoner. Now, imagine that with the infamous thrill of a long weekend. Nothing but good vibes and the scream “Melissa! I’m drunk and outside.” With summer just around the corner, the late May bank holiday is often the harbinger of what’s to come. And on Monday, the 25th of May, 2026, City Splash Festival in Brixton set the tone for a summer filled with nothing but enjoyment, with the weather simply subscribing to the fact.

Held in Brockwell Park, one of London’s infamous hubs for Black culture, City Splash held its sixth celebration of Caribbean and African culture. A lineup featuring artists and DJs specialising in everything from reggae to garage, held space for every kind of creative and a party that had people more than happy to work up a sweat.

Calling themselves “The Home of Culture,” the festival showcases the world's most exciting talent of today, championing Jamaican music, Black soundsystem culture, and emerging talent across the UK, Caribbean, and African diasporas. This year, that looked like the likes of trending rapper JELEEL!, dancehall legend Jada Kingdom, Soca up-and-comer V’ghn, homegrown talent BXKS, Afrobeats artist Juls, and over 70 others. 

Upon entrance to the park, the smell of salty sweat, spiced food, and earthy weed is fresh. With a long day ahead under the sun, crowds as far as the eye can see are sitting under shaded tables, fanning themselves beneath tented sets, and shimmying their way around the grounds.

The first stage, known as Formula Baad, held a selection of acts from around the world. Two of note were Parisian DJ Daddy Chulo, who stacked up the Francophone energy and, later on in the day, JELEEL!. With his catchy tunes grounded in Afrobeat sound, his emigration from the US to the UK has given him a crowd that can never seem to get enough of him.

What felt like a long walk under the beating sun rewarded guests with an array of food stands, water stations, market stalls, and bar sites as they wandered through the park. Dubbed the “purveyors and advocates for Black music, food, dance and style,” the festival’s partnership with Black Eats LDN kept the vibes going from the stages to the picnic tables. Home to over 60 food traders, festival goers had their choice from authentic Caribbean dishes, like jerk chicken and curry goat, to the basics, like pizza and fried chicken. Even going as far as Asian cuisine with Bao Mi stands, Japanese-style rice bowls, and Korean fried chicken.

And the day wasn’t complete with just music and food. At the far right side of the park, the Rastafari Reasoning Corner held conversations about empowerment, social progress, and industry growth with artists and creatives - grounding the day in cultural resonance. Women dressed in their finest carnival costumes made their way around as shops selling Caribbean essentials and merchandise enticed even the most frugal eye.

A group of smaller stages and activations were scattered around the green lawns as well, including CeraVe’s sunscreen station, RedBull’s energy zone, and Casamigos’ beach-house pop-up serving drinks, dancing, and DJs throughout the day. Soca music streamed from the Rampage Sound stage as Grenadian singer V’ghn led the crowd in a summer crash course filled with Jab Decisions. 

At the far end of the park, the Reload stage got everyone prepped and primed for the biggest names. Where drinks were flowing and ice cream cones being licked, performers Loyal Squad played the classics we grew up on as the crowds drew closer to the Yaad for premier acts. As Gyptian serenaded the beautiful ladies, Elephant Man and Aidonia held the crowd with back-to-back high-energy sets, before the sun set to the sound of smooth mixes by Seani B.

The last of the festivities came to a close as people scrambled to food stalls and drink stations before the main event. The festival’s biggest performer and, perhaps, most anticipated was Reggaeton legend Beres Hammond, who was set to close out the night with an exclusive UK performance.

Known for his 30-year-long career filled with lover’s rock jams, the crowd filled with young and old alike swayed and sang to old classics like Tempted to Touch and an expanse of his melodic discography. “Family,” Hammond yelled to the crowd. “What a combination. It’s England and Beres… in the same room!”

The final notes of his iconic song Rock Away fell upon the crowd as the stars rose and the cool of the night washed over London.

The sky painted a picturesque scene for the walk back to the train stations, as another successful fete for the diaspora and its culture came to an end. With 30,000 people to tell the tale, City Splash’s finger is on the pulse of the diaspora, bringing the culture together and calling the shots. Bank holiday and City Splash - what a combination, indeed.

IG: @clungaho

There was a time when music videos demanded patience. You watched them from beginning to end because the visual itself felt like an event. Directors treated music videos like miniature films, complete with story arcs, emotional pacing, costume changes, dramatic pauses, and cinematic reveals. Whether it was the glossy spectacle of early 2000s hip-hop or the aspirational storytelling that shaped older Afrobeats visuals, music videos once existed as experiences meant to hold a viewer’s attention for four uninterrupted minutes.

Today, many music videos seem designed for a completely different audience; people scrolling with one thumb.

Across Afrobeats, hip-hop, and pop music, directors are increasingly creating visuals that are not just meant to be watched, but redistributed. The modern music video now lives across TikTok clips, Instagram Reels, reaction edits, fan pages, and repost accounts. In many cases, the most important moment in a music video is no longer the ending or storyline. It is the fifteen-second clip that survives outside the video itself.

The shift is impossible to ignore. Asake’s visuals often thrive through chaotic crowd scenes, surreal transitions, repetitive choreography, and highly stylized frames that feel engineered for replayability. Rema has mastered dramatic imagery and fashion-forward aesthetics that frequently circulate online as standalone screenshots. Tyla’s visual appeal is deeply tied to movement, rhythm, and dance culture, making her videos naturally adaptable to short-form platforms.

This visual language extends beyond Afrobeats. In hip-hop, artists like Playboi Carti and Travis Scott lean into hyperactive editing styles, distorted visuals, chaotic lighting, and imagery that mirrors the pace of internet consumption itself. The audience has changed, and directors are adapting accordingly. A listener rarely experiences music in one place anymore. A song might first appear as a dance challenge on TikTok, then show up in a meme compilation on X, before eventually leading someone to the full video on YouTube weeks later. Music videos are no longer expected to function only as complete narratives. They must now survive fragmentation. Every frame has to compete for attention independently.

This is perhaps why modern visuals feel faster, louder, and overstimulating than before. Rapid cuts, exaggerated colour grading, dramatic transitions, choreographed “viral moments”,  and instantly recognizable aesthetics now dominate contemporary music videos. Directors understand that if a visual cannot generate conversation online within seconds, audiences may never engage with the full piece at all.The traditional music video rewarded immersion. Videos unfolded slowly, allowing emotion, storytelling, and symbolism to build naturally. Older hip-hop and R&B visuals often relied on cinematic narratives that mirrored film culture. Early Afrobeats visuals also leaned heavily into aspirational storytelling, luxury imagery, romance, nightlife, and carefully paced performance scenes. Now, the emphasis is increasingly placed on replayability rather than narrative depth.

This is not necessarily a bad thing. In many ways, short-form culture has pushed directors to become more inventive as audiences consume visuals so quickly; artists are experimenting more boldly with fashion, choreography, editing, animation, humour, and unconventional camera work. Internet culture rewards visual distinctiveness, and many directors are responding with more daring creative choices.  For African artists especially, this shift has opened new possibilities. Virality allows artists to travel globally without relying entirely on traditional media systems. A dance clip, transition sequence, or striking visual frame can circulate across continents within hours. Artists no longer need audiences to sit through entire interviews or television appearances to gain recognition. Sometimes, one visually memorable moment is enough. Yet something has undeniably been lost alongside this evolution.

Narrative-driven music videos are becoming increasingly rare. The slower pacing that once allowed viewers to emotionally connect with visuals is disappearing beneath rapid editing and constant stimulation. Some videos feel built for the algorithm, not for the story. Even the structure of music itself has started to change in response. Songs are shorter. Hooks arrive faster. Beat switches happen earlier. Visuals now mirror the same urgency. The goal is no longer simply to create art that resonates emotionally, but content that survives circulation. The modern music video exists in an era where attention itself has become currency. Maybe that is why today’s visuals often feel disjointed. Directors are no longer creating solely for television screens or YouTube premieres. They are creating for phone screens, repost culture, fan edits, and infinite scrolling timelines. The “moment” now matters more than the sequence.

This does not mean music videos are dying. Maybe they are simply evolving into a new visual language altogether.

A generation raised online does not necessarily remember entire music videos the way previous generations did. They remember frames. A dance move. A transition. A facial expression. A fashion look. A screenshot. A ten-second clip attached to a trending sound. The clip itself has become part of the storytelling process. In that sense, directors are not just filming for music anymore. They are filming for circulation. They are creating visuals designed to move through the internet at the same speed as culture itself. And perhaps the real question is no longer whether music videos are losing depth. The more uncomfortable question is whether virality has become our generation’s preferred form of storytelling.

Photo credit: Adobe stock

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Anybody who was not present at the Piano People Scorpion Kings show this weekend missed a day for the books. Kicking off festival season and the summer vibes in London, the sun was shining, the heat was at a high, and the vibes were flowing perfectly throughout Barking Park. With the anticipation for the Scorpion Kings' London return already at an all-time high, the duo came and once again left no crumbs. Playing a three-hour set, they once again showed why there is actually nobody like the Scorpion Kings, and they really are the kings of the game.

Before we got to the main act of the day, the vibes were set from the beginning. Arriving at the park almost halfway through the day meant we missed the early sets, but entering just in time to catch Sam Deep meant the vibes were set strong for us. Playing the Second Location stage, his set came at the peak of the heat and sunshine, and yet that did not stop a single person from vibing along, which started off with smooth vibes before going into his crowd favourites. Playing his latest single ‘Izospana’, which features Thatohatsi and Zuma, the crowd was already vibing to it despite it only being out for three days prior. The Shelaholics were also active and ready as soon as his hit came over the speakers, having everybody losing their minds and singing along at the top of their lungs. The rest of his set continued with other tracks, such as the Thatohatsi-featured standout ‘Who I Am’ track ‘Thandaza ’. 

From Sam Deep, we paid a brief visit to the Groove Station and caught the Qqom vibes, which we indulged in. One thing that was evident throughout the day is there was really something for everybody. With a rich diversity of South African sounds in the lineup, there was a strong display of South African music and the love and popularity it has travelled beyond its borders. 

A standout of the day was none other than Dlala Thuzkin, who, having now seen him perform live three times, has never performed a bad set. As the lead-up to the main act, the energy he brought to the masses on the main stage got everybody excited for the kings. As someone who has been a pioneer in the 3-Step space, he delivered a set that felt like the perfect moment at golden hour. The ladies of the mainstage, Thatohatsi & Tracy, also proved that they really are the top-tier vocalists that they are, as their vocals rang from the front to the back of the stage, bringing songs like ‘Abantwana Bhako’ to life in a different way that was sensational to experience. 

The Scorpion took to the stage and once again delivered a killer set that made three hours feel more like 30 minutes. If there was ever a question about the hype of Scorpion Kings as a duo, they really bring something different to the table. With Kabza’s gospel-soulful vibes, he ushered in the set very smoothly as we watched the sun set. Only to be matched by Maphorisha’s high-energy hits, he delivered. Joined by Uncool MC, who hosted the main stage all day and did what was needed without doing too much from an MC, allowing the Kings to shine. Their set certainly delivered and was worth all the wait. Never ones to disappoint, the range they bring not only of their songs but of amapiano in general really shows their star power in how they continue to showcase the genre, no matter the stage they are on. 

Overall, the day was a stunning vibe of music, food, drinks, and a cultural celebration of Amapiano and Southern African music and its global impact, which it continues to hold. 

On what felt like officially the beginning of summer, the masses gathered to London’s O2 Area to experience the legendary DJ that is Black Coffee take the centre stage joined by an orchestra as well as a few guest performers on stage as he played a 3 hour + set. 

The moment was no doubt a monumental one for him and brought his fans together for a unique offering. Accompanied by various musicians who brought their vocals to the O2 stage as they came on stage one by one. Stand out moments included an appearance by Msaki who joined him to perform their hit Wish You Were Here, as well as Delilah Montagu who performed Drive and even Alicia Keys who joined him to perform In Common. And as those moments brought the energy and love to the crowd to an all time high. 

The set that spanned 3 hours from when he came on at 7:45 was one that catered to the UK crowd. Bringing his collaborations from all over and infusing them all throughout his set. There was a moment in time which felt that perhaps sounded like it had fallen into one and called for an opportunity to bring back some of his classic hits. Having never experienced him before there was nothing to go off on except for the high expectations and hoping for some of his older hits. 

The set up itself was one that served its purpose with him centred in the arena on stage with the standing crowd all around him and the orchestra playing behind and surrounding him on stage for the moment they were on stage before they departed and came back towards the end of the show. The energy of the crowd definitely vibrated across the space of the arena and was very apparent throughout the duration of the show.

For all that was achieved it was certainly a moment for Black Coffee and marked another significant moment in his career and the levels he has been able to reach. Yet it somewhat felt like a reminder of what it really means to a global artist and such catering your sound for certain crowds in where you go in terms of how it impacts your sound and the music you make. In the case of Black Coffee who has become so global and playing for crowds with various musical palettes there felt like a bit of a loss to the classic sound of Black Coffee.  However the sentiment there is no doubt that this moment was a monumental one in the levels that he has been able to reach and his position in the international music scene.

Though the Super Eagles will not be at the tournament, Nigeria has two artists on the official FIFA World Cup 2026 soundtrack - Rema on 'Goals' and Burna Boy on 'Dai Dai' alongside Shakira. The irony writes itself: While the national team’s qualifying campaign collapsed, Nigerian artists were being called to soundtrack the most-watched sporting event on the planet.

That says something about where Afrobeats stands in 2026 and about where Rema stands within it.

“Goals”, the official FIFA World Cup 2026 anthem featuring LISA, Anitta, and Rema, dropped May 21. Produced by Grammy-winner Cirkut alongside Bava, PinkSlip and Tropkillaz, the multilingual track blends Latin pop, K-pop and Afrobeats into a percussion-soaked three-minute collaboration that pulls three continents into one stadium-ready record. LISA brings the precision and charisma of one of K-pop's most recognisable solo careers. Anitta brings the multilingual fluency and rhythmic confidence of Brazil's biggest musical export. Rema brings Afrobeats - and the specific, assured energy of someone who already knows the world knows his name.

The song has drawn inevitable comparisons to Shakira's 'Waka Waka', with fans split between nostalgia for older World Cup anthems and acceptance of a new, more globally fused sound. That debate misses the point. 'Goals' was not built to be 'Waka Waka'. It was built for 2026 - for an audience that consumes music in thirty-second clips, that follows artists across three continents simultaneously, that already knows every name on the track before the video drops. 

The conversation in Nigeria has been less about the song and more about the verse. Rema opens his section with intent: "Breaking all their records, now they wan shift the goal post / Normally Remy get unlimited flow / One of one, check around the world, me no get clone / From Nigeria to Monaco." It is confident, specific and fully Rema - a man who knows exactly what he is and where he stands. The frustration from Nigerian fans was never about quality. It was about appetite. The verse was good enough to make people want more of it, which is precisely the problem and precisely the point. 

Because 'Goals' did something that a World Cup anthem rarely does for a specific artist's fanbase - it reactivated a hunger. The announcement marked another major international milestone for Rema, who has continued to establish himself as one of Africa's most successful music exports. 'Calm Down' made him a global name. The FIFA stage - performing alongside LISA and Anitta at the opening ceremony in Los Angeles on June 12, in front of the largest audience a World Cup has ever commanded, is the next chapter of that story. 

Rema said it himself: "Three continents, one track… bringing all our sounds together like this is a big moment for music on the world stage." He is right. It is a big moment. It is also, for anyone paying attention, a reminder of what a full Rema project at this level of ambition and visibility could sound like.

The World Cup runs from June 11 to July 19. 'Goals' will soundtrack stadiums, opening ceremonies, highlight reels and closing nights. And when the last whistle blows, and the trophy is lifted, the question Nigeria has already started asking will still be sitting there, unanswered.

The verse was good. Where is the rest?

IG: @sophiannadozie