Exhibition on the groundbreaking Japanese designer and industry changemaker opens at the Design Museum on 1 May 2026.

NIGO: From Japan with Love

1 May – 4 October 2026 | the Design Museum

Opening 1 May 2026, the Design Museum in London is staging the very first retrospective on NIGO. The visionary designer and creative director is credited as one of the first designers to bridge the worlds of streetwear and luxury fashion. One of the founding fathers of ‘hype culture’, NIGO has applied his creative mind to some of the world’s most recognisable brands and cultural icons, as well as pioneering his own streetwear and luxury fashion labels.

NIGO, the first Japanese Artistic Director of Paris fashion house KENZO since its founder Kenzo Takada, rose to prominence with his streetwear brand A Bathing Ape in the 1990s; going on to launch Billionaire Boys Club with American musician Pharell Williams in 2003 and HUMAN MADE in 2010. Recognised for his unique ability to identify trends and sample cultural references across wide-ranging disciplines, NIGO is responsible for setting some of the most influential trends in recent fashion history. Over the course of his 30-year career, he has successfully bridged fashion, music, architecture and interior design; infusing a range of influences spanning vintage Americana, streetwear, hip-hop, traditional Japanese craft and growing up in 1980s Tokyo.

Featuring over 700 objects - with 600 from NIGO’s own personal archive - the exhibition charts NIGO’s expansive career from the back streets of Harajuku to the runways in Paris. Highlights include a recreation of his teenage bedroom, rare and early era BAPE designs, ceramics hand-thrown by NIGO himself and a life-size glass tea house made specially for the exhibition.

NIGO says, “I am truly honoured for my first retrospective exhibition to be held at the Design Museum in London, and I’m deeply grateful for the opportunity to present my work in such an iconic space.”

The exhibition is split into four sections: The Future is in the Past, Evolution, The NIGO Effect and New Traditions.

Beginning with a replica of NIGO’s 1980s teenage bedroom, visitors can examine objects collected and preserved from his youth that shaped his creative influences. As elements of American culture trickled into Japanese fashion and music following the post-Second World War military occupation, NIGO’s collection of childhood ephemera represents a meeting of two worlds.

Fascinated by Americana, he started collecting objects as a teen and developed a signature style donning 1950s Levi’s denim jackets, vintage baseball caps and varsity jackets, several of which will be exhibited. NIGO has amassed over 10,000 pieces in his personal archive, which until now has been kept mostly private. As part of this first section, NIGO has personally selected 300 objects that are both meaningful and have shaped his craft and approach to design. NIGO chose USM Modular Furniture to showcase his personal archive in the exhibition, the same shelving system used to display his collection in his Tokyo studio.

Cherished figurines and toys, including Donald Duck, Felix the Cat and Star Wars characters are on show in conjunction with his Japanese toys, music and magazines from the era, demonstrating this mingling of cultures. This fusion can be seen in a vintage film poster for Tom Hank’s American classic ‘BIG’ translated into Japanese, or a Japanese tabletop game reimaging the favourite American pastime baseball. This mix of figurines, objects and ephemera sets the distinctive stage of 1980s Tokyo and the influences that would go on to inspire NIGO to this day.

The second section ‘Evolution’ leads with NIGO’s early career with his first store NOWHERE, co-founded with fashion designer Jun Takahashi in 1993, part of the ‘Ura-Hara’ scene centred around the backstreets of Harajuku, Tokyo. In the same year NIGO launched his clothing line A Bathing Ape (often abbreviated to BAPE). This section features early design drawings from NIGO’s time at fashion college as well as rare early era BAPE clothing items: sweatshirts, t-shirts and a variety of jackets including nylon, camo, varsity and puffer styles.

A marketing maverick, NIGO soon developed the model of limited-edition runs, novel packaging and exciting collaborations that fuelled collecting and hype culture. T-shirt packaging that looks like spray cans, membership cards that resemble credit cards and collaborations with the likes of KAWS, MAC, Pepsi, Disney and Nintendo are just some of the ingenious creations that feature in the exhibition.

Being one of the first to break down the barrier between streetwear and luxury set NIGO’s designs apart and propelled him to the global stage, introducing him to leading American hip-hop artists including regular collaborator Parrell. NIGO’s love for fashion is intrinsically tied to his love for music, styling several of his favourite artists from the 1990s into the 2000s, launching his own record label BAPE Sounds and forming the band Teriyaki Boyz. Teriyaki Boyz CDs will be on show alongside playful merchandise, including snow globes, playing cards, figurines, stamps and even a model of a Teriyaki Boyz branded burger.

NIGO adopted the motto ‘The Future is in the Past’ for his fashion label HUMAN MADE, finding inspiration in the past and manifesting it through fashion. Viewers can draw direct parallels to the vintage Americana fashion collected in his youth and the pieces he went onto design, including their 'Yokosuka Jumper' souvenir jacket, a stadium jacket emulating the Varsity style and denim pieces. NIGO brought this same perspective to his role as Artistic Director of KENZO in 2021, incorporating elements from the house's archive into his contemporary designs, creating a fresh yet nostalgic identity. Several runway looks are on display, as well as the royal blue suit and cape ensemble designed for Kid Cudi worn at the 2022 Met Gala.

‘The NIGO Effect’ examines NIGO’s career after achieving cult status, a trendsetter who became one of the most sought-after partners for brands across fashion, music and design. In this section we see collaborations with the same brands that inspired and defined NIGO’s childhood, drawing parallels between the objects he collected as a child in his bedroom and the projects he went on to create.

Known for his signature sunglasses, his ‘Millionaire’, ‘Bolivia’ and ‘Havana’ style sunglasses for Louis Vuitton’s Spring-Summer 2005 show are featured, a collaboration between Marc Jacobs, Pharrell Williams and NIGO. An ensemble from his very recent collaboration with Pharell Williams for the Louis Vuitton menswear Fall-Winter 2025-2026 show will be displayed in conjunction with earlier collaborations with Virgil Abloh for the brand.

NIGO’s ongoing partnership with Nike is explored, with limited edition t- shirts and a signature Varsity style jacket featuring the NIGO x Nike swoosh emblem. Sealed 2024 APE-force trainers and the accompanying figurine are on display, exhibited alongside his other specially designed Air Force III trainers.

The final section, ‘New Traditions’ considers NIGO’s personal explorations into Japanese craft and rituals, finding new creative practices in traditional techniques. Following his own motto ‘The Future is in the Past’, NIGO finds inspiration in heritage and aims to translate this into his contemporary practice. Alongside training to be a master of tea ceremony, NIGO also practices ceramics, creating pottery from his studio in Tokyo and travelling across Japan to learn regional styles. This final section showcases 25 of his own hand-thrown ceramic creations, in conjunction with a life-size glass tea house made specially for the exhibition; a modern interpretation of a traditional Japanese tea house designed by NIGO in collaboration with exhibition supporter NOT A HOTEL.

Tim Marlow, Director and CEO of the Design Museum says, “NIGO’s contributions to the fashion industry as we know it today are highly significant and under-explored. He has helped redesign the landscape of brand collaboration as well as continuing to blur boundaries between streetwear and luxury. The Design Museum is delighted to present the first global retrospective of his extraordinary career and showcase the impact of a Japanese pioneer on global fashion culture.”

Esme Hawes, Co-curator of the exhibition says, “For the first time, NIGO has given us unprecedented access to his extensive and intriguing archive. NIGO has been an avid collector since his early years, growing his passion for collecting from a hobby into a lifelong passion. His collection acts as a live toolbox from which he seeks inspiration, often sampling from these pieces to create his own designs. Deliberately chosen, personally meaningful and often surprising, the pieces in the exhibition not only chart NIGO’s extensive and diverse career but also his inspirations, passions and influences.”

NIGO: From Japan with Love opens 1st May 2026. To further celebrate the opening of NIGO’s first ever retrospective, the Design Museum want their shop to act as an extension of the exhibition. As such they are hosting NIGO’s long-time collaborator Nike in a pop-up at their High Street Kensington location. An exclusive Nike x Nigo x the Design Museum range will be available to purchase for the duration of the exhibition run, with further drops taking place on 1 July and 1 August. This range will comprise of sweaters, caps and t-shirts with the signature Nigo x Nike swoosh logo.

Additionally the just announced Nike x Nigo LO2 Air Force 1 and apparel collection will launch exclusively on 1 May at the Design Museum in London, before widely launching 2 May at humanmade.jp and Undercover stores. Further information on the new Nike x Nigo LO2 collection can be found here.

When you press play on Kehlani's self-titled fifth album, one thing is clear: Kehlani is a true student of R&B. Her new album confirms the place she has earned in today's R&B scene. If that wasn’t proven by her GRAMMY win earlier this year for “Folded,” the rest of the album makes it obvious that her voice is a force in the genre.​

Cloud 19 was her first mixtape, released in 2011, and since then, her career has included eight musical projects and five studio albums. The fifth being her self-titled, and indicative of a real insight that shows how far she has come and just how true she has been throughout her career. The gratification of earning her first GRAMMY 10 years after her first nomination is a real indication of all that she is and the love she has long been due.​

With production credits from the likes of Andre Harris, Don Mills, Khris Riddick-Tynes, Jimmy Jam, and Terry Lewis, to name a few, it is no wonder that the album has a rich quality as you play through the 17 tracks.  Sonically, there is enough variety to showcase different parts of Kehalni whilst still bringing it together in a way that is solid and definitely a contender for another GRAMMY if we do predict so ourselves.

The intro opens with spoken word on growth and “A voice stepping into its truth with no fears, no filters, no apologies.” The album’s first song features Lil Wayne on “Another Luva” and instantly recalls themes and sounds from her debut, SweetSexySavage. Lil Wayne is just one of the strong features here, joined by Virginia rap duo, R&B icons Brandy and Usher, T-Pain & Lil Jon, Cardi B, Big Sean, and Leon Thomas. Each feature adds its own flair, and Kehlani keeps pace with all.

Standout moments include the Brandy featured “I Need You”, which blends the voices of Kehlani and that of the vocal bible perfectly as they sing against the production of Jimmy Jam and Terry Lewis, with Brandy taking a verse of her own and coming together about still needing a significant other after the end of a relationship. The Missy Elliott feature “Back and Forth” is an ode to Aaliyah’s back-and-forth, encapsulating her vibe across the tracks. Usher’s “Should’ve Neva” plays straight from the school of Usher and is a great blend of the two together in a regretful situation. Kehlani and Cardi B’s musical chemistry has been on display across two songs now: “Ring,” “Safe,” and now “Pocket.” The sexually charged sees Cardi bring a verse that will no doubt be a standout for fans. Leon Thomas’s “Sweet Nuthins” feels like the representation of the new R&B on the album. Having joined him on his last album, he returns the favour with a song that really shows the two of them as the voices of R&B that they are. Whilst the features do bring that element to the album. Kehlani’s solo performances shine on their own, thanks to the quality she delivers. “Cruise Control” is a smooth one that sounds like it would play nicely in the sun. The album closer, “Unlearn,” is a self-reflective track and a perfect fit for the album.

The album ultimately feels like a real lesson in love, reflecting Kehlani's present chapter with insight and depth. With this release, Kehlani not only reaffirms her place in R&B but also sets the stage for continued evolution. It is a testament to her growth, her authenticity, and the powerful journey she invites listeners to share. This project is more than a collection of songs—it's a resonant milestone that points to a promising future. 

The sneaker world converged at 15 Mercer Street on the 17th of April for the unveiling of the Alex Moss New York x HARDIES NYC x adidas Gazelle . This was far more than a traditional sneaker launch; it was a definitive cultural moment where the high-energy aesthetics of the street met the structural rigor of fine jewelry. Shifting away from safe, monochrome trends, the event was anchored by the striking visual of the collaboration’s signature orange colorway with vibrant green accents, a palette that commands the room and redefines the iconic silhouette. 

A Gallery-Grade Experience

The presentation of the footwear mirrored that of a high-end jewelry house. Rather than being displayed in a standard retail fashion, the sneakers were treated as collectible artifacts, showcased under sharp, gallery-style lighting that emphasized their premium construction. This approach transformed the venue into a hybrid showroom that successfully bridged the gap between a high-design exhibition and a luxury boutique. The space was meticulously designed to be content-driven, offering multiple photo-worthy setups that leaned into the bold, clean branding of the partners.

Structural Precision: Footwear as Fine Art

The color choice feels intentional and provocative, but the true genius lies in the architectural execution of the hardware. Alex Moss, who is deeply rooted in architectural philosophy, has pushed the boundaries of what is possible for footwear, treating the sneaker not just as a shoe, but as a foundation for a meticulously crafted jewelry concept. Drawing from the same structural rigor seen in his cathedral-inspired Cathedral of Dreams collection, every element is a testament to precision from the specific calibration of the stone sizes to the extreme attention to detail in the "bust down" adidas logo. The hand-detail lace accessories and the quiet glisten of the studded stripes are not merely additions; they are deliberate, architectural statements. This is an execution that only a jeweler with Moss’s eye for form and scale could achieve transforming a heritage silhouette into a piece of mobile art.

The Ultimate Statement

When you move through the world in these sneakers, you aren't just wearing a limited-edition collaboration; you are carrying a piece of luxury jewelry and art on your feet. As the saying goes, you can tell everything about a person by their shoes and these shoes are a statement and a life of their own. They represent a mindful intersection of status and storytelling, serving as the ultimate centerpiece for the modern wardrobe. Supported by the refined presence of Don Julio 1942, the evening solidified this project as a rare cultural marker. The launch proved that when high-end jewelry and iconic footwear design collide with such meticulous intent, the result is a singular, collectible icon that forever changes the conversation around what a sneaker can be.

Credit: Day Hunch

Drake the 6 God, Tayc the King of Afrolove, and Lucki have all confirmed May 15, 2026  as a release date for their upcoming albums.

Drake's ninth studio album Iceman has been one of the most anticipated releases in recent memory. The project sits as the first full-length solo album following his very public rap battle with Kendrick Lamar in 2024. And so far, the rollout has been nothing short of eventful, with Drake appearing across livestreams, teasing unreleased music in raw snippets, and letting alternate versions of songs circulate online, he buried the release date inside a giant ice sculpture in downtown Toronto. Fans showed up with pickaxes and hammers. Someone lit part of it on fire. A streamer named Kishka eventually fished a bag out of the ice, made his way to Drake's mansion, and cracked open the packaging to find the date.

On the other side of the Atlantic, Tayc is stepping into the biggest moment of his career. The French-Cameroonian artist built his name on what he calls afrolove, slowburn R&B with African roots that found a massive audience in France and across the diaspora. His debut album Fleur Froide went diamond. JOŸA, his second solo album, is set to mark a darker, more orchestral, and personal turning point. This comes at a time when Tayc is at his most visible, currently sitting as a coach on The Voice in France, which  will lead JOŸA to land in front of the biggest audience of his career.
Fans are anticipating his performance of  the album live at La Seine Musicale in Paris on release day. For a generation of Africans and diaspora kids who grew up between two worlds, Tayc has always been the artist who understood that specific loneliness. 

 Then there is Lucki. The Chicago rapper has been one of underground hip hop's most consistent voices for over a decade, building a cult following through raw, detailed storytelling and a willingness to go places most artists avoid. His fifth studio album is called Dr*gs R Bad, a 26-track project rooted in his personal experience with addiction and recovery. He has been open about his battles with pill dependency and the album looks like his most direct reckoning with that chapter of his life yet.
When fans asked if he would move his date after Drake confirmed May 15, Lucki answered
"Maybe I would push the album back if I didn't have so much new swag. But me & Aubz 5/15 lets go." 

Drake returns with the weight of a career-defining moment on his back, determined to remind the world why he built what he built. Tayc steps into the light he has been quietly earning for years, bringing afrolove to its grandest stage yet. And Lucki shows up honest, with so much to say across 26 tracks.

For the past few seasons, South African Fashion Week has drawn industry insiders, buyers, and press to Johannesburg, where the country’s most compelling designers present work that sits at the intersection of craft, culture, and contemporary life. This season unfolded at the Mall of Africa, where the runway space once again became a site of exchange between emerging voices and established names shaping the direction of the industry.

Marking another edition in its ongoing calendar, SAFW SS26 took place over several days and brought together a mix of returning designers, rising labels, and independent brands who are pushing new ideas. The schedule reflected the breadth of South African fashion today, spanning structured tailoring, textile-led experimentation, and softer approaches to luxury.

Here are six of our favourite collections from last week.

HELON MELON

Helon Melon, founded by designer Helen Gibbs, is rooted in textile development and sustainable practice. The brand draws heavily on handcrafted processes, often incorporating natural materials and artisanal techniques into contemporary silhouettes.

At SAFW SS26, raffia accents and textured surfaces became central to the collection. Volume played a key role, with puffed skirts and trousers creating movement and dimension. The material choices added depth, connecting each look back to process and making. There was a balance between playfulness and control, where bold shapes remained grounded in thoughtful construction.

BLACK COFFEE FASHION

Founded by Jacques van der Watt, Black Coffee remains one of South Africa’s most established fashion voices, known for its architectural approach to design and commitment to local production. The label often explores structure through fabric manipulation and unconventional construction.

This season’s collection worked through an earthy spectrum, grounding the garments in tone and material. Soft utility emerged as a key thread, with pieces that balanced function and form. Shapes were sculptural yet wearable and overall, the collection reflected a mature design language, where experimentation is embedded into the garment rather than presented as spectacle.

HOUSE OF OLÉ

House of Olé operates at the intersection of bespoke tailoring and wearable art, with a practice grounded in craftsmanship and cultural expression. The brand is known for producing made-to-measure garments that can be both technical and narrative.

At SAFW, the brand's language came through in colorful, layered suiting and sculptural forms. Coats, waistcoats, and structured garments built on each other, creating looks that felt intentional and considered. 

IRENE MAKHAVHU DESIGNS

Founded by Irene Makhavhu, the label centres on luxury womenswear defined by softness, fluidity, and attention to detail. The brand’s ethos leans into femininity as something expansive, expressed through fabric, movement, and subtle construction.

For SS26, that translated into a collection of flowing dresses and gently structured pieces in rich, earthy tones. Fabrics skimmed the body, creating silhouettes that felt light and airy. Tailored elements appeared in subtle ways, anchoring the softness without overpowering it. The collection held a steady focus on ease while maintaining a sense of refinement.

ANUNES

Anunes has steadily developed a reputation for precise, contemporary tailoring that speaks to urban South African identities. The label often works through minimal palettes and controlled silhouettes, focusing on cut and proportion over surface detail.

This season refined that approach further. Layered looks in deep maroons and muted greys and blacks moved with intention with each piece. The collection felt self-assured, offering a vision of tailoring that is direct and composed.

ON DUTY JEANS

Founded as a denim-focused label rooted in street culture, On Duty Jeans has built its identity around reworking workwear into something sharper and more directional. The brand approaches denim as uniform and statement, drawing from labour, movement, and everyday dressing.

At SAFW SS26, that foundation translated into a collection centred on structure. Trousers held firm, seams were reinforced, and silhouettes were edgy. There was a clarity in how each garment functioned, with flared shapes and exaggerated proportions added structure without losing practicality. The collection positioned denim as something constructed with purpose, reflecting a wider shift toward clothing that feels built for real conditions.
ig: @zoannafr

As part of ongoing investigations in the case of the first-degree murder of 13-year-old Celeste Rivas Hernandez, prosecutors allege that popular-gamer-turned-singer, D4vd, was found in possession of “significant amounts” of child pornography. This is as the artist is currently regarded as the prime suspect in the case. This evidence forms part of a broader pattern of alleged abuse that occurred before Celeste’s disappearance and death.

Prosecutors allege that the abuse began as far back as September 2023, when Celeste was 13. At that time, her family reported her missing. However, she reportedly appeared backstage at his shows, and he was photographed near her home at Lake Elsinore. They also claim that it was because she threatened to expose him that he allegedly killed her. Two days before D4vd dropped his debut album, Withered, on April 25, 2025, 14-year-old Celeste Rivas Hernandez reportedly walked into his Hollywood Hills home and never left.

Months later, on September 8, 2025, officers of the Los Angeles Police Department (LAPD) responded to a "foul odor” in the back of a Tesla belonging to D4vd, and found Celeste's dismembered remains inside two black bags, culminating in his arrest on April 16, 2026. He is also charged with first-degree murder and mutilation of human remains. 

California's Penal Code Section 190.2 lists special circumstances that transform murder into an offence that warrants the death penalty. Burke is facing three of them: lying in wait, murder for financial gain, and killing a witness to prevent testimony. Any one of those alone means life without parole. The office of the District Attorney hasn't ruled out seeking the death penalty. The sexual abuse charge under Penal Code Section 288.5 carries 6 to 16 years on its own. The federal CSAM charges, if filed, carry mandatory minimums of 5 to 20 years per count. The mutilation charge adds up to 8 more.

D4vd's attorneys say the evidence will prove he had nothing to do with Celeste's death. It then falls on the prosecution to prove guilt beyond a reasonable doubt. The defence will likely point to severely decomposed remains, an unclear timeline, and the possibility of third-party involvement. Whether that holds against digital evidence, witness testimony, and what authorities found in that Tesla is a different question entirely. More details are expected to come out by May 1, 2026.

D4vd's case forms part of a larger network of cases involving crimes committed by celebrities. This kind cannot be committed by an ordinary individual without resources (influence, money, fame and prestige). It further asks those in the aristocratic or bourgeois class what exactly people of their calibre desire that they do not already have. Because what prosecutors are describing in this case isn't desperation but access, the kind that can only be bought by fame. That can keep a 14-year-old girl within reach of someone who allegedly had every reason to know better and chose otherwise.

If a celebrity, who is held to a higher standard due to their societal status, still believes in engaging in anything remotely touching on sexual relations with a minor, it means that the structures of accountability and higher moral standards that this category of people preach are a facade. However, as it usually is, it is up to the courts to decide. 

iG:@muyiwavstheopp

The moment African models step onto the runway, they carry with them stories of heritage, identity and an industry that is steadily redefining the continent’s place globally. The South African Fashion Week 2026 arrives at a moment when African fashion is beginning to gain unprecedented international attention. However, beyond the spectacle of lights, cameras and fabrics, the event reflects a deeper transformation within the continent’s most creative industries. Fashion is becoming both a cultural statement and an economic force. 

Held in Johannesburg, South African Fashion Week has evolved from being a local runway showcase into one of the continent’s most influential fashion platforms. The stage is now used by designers not only to debut new collections but also to express narratives rooted in African history, identity and modern urban culture. From interpretations of traditional silhouettes to contemporary streetwear inspired by township aesthetics, the runway has become a canvas for storytelling.

Clothing is a language for many designers. Textiles, colours, and tailoring techniques often reference heritage, sometimes subtly, sometimes boldly. This way, what emerges is the fusion of the past and the present with garments that not only celebrate craftsmanship but speaks to a global audience who are increasingly interested in authenticity and cultural perspectives.

However, the significance of South African Fashion Week goes beyond symbolism. The event serves as a platform for a critical meeting point of buyers, media, retailers and investors.  New brands like 560 Rebirth by Lumka Takane, Funch by Kwanele Thusi, The Vision Line by Lucky Masemola, Bravo&Co by Gift Nematei and established brands like Maxhosa Africa, Iamisigo, Meji Meji, Deirée by Iyama, Sibu FDB amongst others were showcased at the South African Fashion Week 2026. However, designers now find opportunities to connect with global fashion networks through the visibility the event provides. This shift reflects a broader reality; Africa’s fashion industry is growing into a viable economic sector. 

Across the continent, fashion weeks are evolving to become marketplaces where creativity intersects with commerce. Emerging designers gain exposure, a manufacturing partnership takes shape, and the conversation around fashion moves quietly from aesthetics to industry. South Africa Fashion Week is a prime example of that transition. In recent years, the event has embraced hybrid formats that blend the physical runway presentations with digital showcases. The shift allows collections to reach audiences beyond the traditional front row, therefore giving designers access to global viewers, buyers and press. 

The ripple effects extend beyond South Africa. Across the continent, fashion events such as Lagos Fashion Week are redefining what African Fashion Week represents. Together, they form a growing network of creative platforms positioning Africa not only as the peripheral voice in fashion but as an emerging center of influence. For young designers in particular, visibility matters. Fashion week provides validation, access and the possibility of scaling creative ideas into sustainable businesses. 

In an industry where access to markets and funding has historically been limited, the runway becomes more than just a stage; it has become a gateway. At the same time, the aesthetics on display reveal how African designers are reshaping the narrative of global fashion. Instead of replication Westerb trends, many collections deliberately lean into African references through handcrafted fabrics, indigenous motifs, and contemporary interpretations of traditional dress. 

The result is a fashion language that feels both rooted and forward looking which is perhaps the real significance of South African Fashion Week today. It represents a moment where creativity, culture and commerce converge to tell a broader story about Africa’s evolving place in the world’s cultural economy. 

As African fashion continues to gain recognition beyond the continent, the question is no longer about whether the industry will attract global attention. The question now is how far the influence of Africa’s runways will travel and who will define the next chapter. 

Destin Conrad’s ‘wHIMSY!’ is a Fever Dream You Won’t Want to Wake From

There’s a specific moment when you press play on a project and realize you’re not just listening to a playlist you’re stepping into someone’s world. With the deluxe drop of wHIMSY!, Destin Conrad has officially moved past the "R&B singer" label.  In many ways, wHIMSY is a transportive, hazy odyssey into what he’s calling "alternative jazz"and it is the most honest he’s ever sounded.

The project sits as a bridge between eras. You’ve got these crisp hi-hats that keep you grounded in the present, but the melodies themselves feel like they’ve been pulled from a 1970s smoke-filled lounge. It’s got that new-age spoken word grit where the lyrics aren't just sung; they’re felt. What’s wild is how Conrad takes the most mundane, everyday topics and makes them feel intoxicatingly sexy. He has this way of romanticizing the "normal" until it feels like a movie scene.

Opening an album is an art, and on the perfectly titled "(MORE)LOVE" starring Jean Deaux   you know you’re about to go on a trip the second it hits. The track is a slow-burn immersion that sets the stage for everything to follow. Jean Deaux’s presence adds a layer of texture that mimics a conversation you’re eavesdropping on. “Diamond Gold” showcases a melodic style and luxurious sound that makes listeners feel sexy. The jazz influence here is velvety and effortless, providing a backdrop for the way he carries himself with such refinement. It doesn’t feel arrogant. "NOTHING IS REAL" (w/ Terrace Martin) is where the "alternative jazz" label really earns its keep. It’s soulful, melodic, and deeply rhythmic. It’s the kind of song that makes you want to close your eyes and let the sound take the wheel. It feels like a core memory you haven't had yet. A lot of albums fizzle out at the end, but "LALALALA" brings it all home. It mirrors the upbeat energy of the start, giving the whole experience a beautiful, full-circle closure. It leaves you with a high-energy buzz, like the sun coming up after a long night out.

wHIMSY is an album that doesn't just play; it breathes. It’s a melodic time machine that manages to feel nostalgic for the past while being obsessed with the future. Conrad isn't just making music anymore he’s building an environment. If you’re looking for a project that feels like a cinematic voyage through sound, this is it. The album is proof that when you stop trying to fit into a genre and start trying to capture a feeling, you end up with something timeless.

When TheARTI$T (born Erica McCauley) released her viral single “Sober” in January 2023, it marked the moment when audiences first recognised her musical abilities. The reflective track, which became the anthem for leaving toxic situations, was one of many from the New Jersey- born fast-rising R&B singer, songwriter, and performer that would go on to propel her into the music scene as a newcomer to watch out for thanks to her vulnerable lyrics, smooth vocals, and warm tones. “It felt scary at first, but over time, it began to feel right,” TheARTI$T explained, speaking on the early days of sharing music. “I believe I was always meant to be doing something that involved pouring into people, and that music happened to be the thing God blessed me with to do that.” It’s this strong belief in herself and her talents that took her from being a preschool teacher in Newark to receiving cosigns from legends like Queen Latifah, Snoop Dogg, Maxwell, and more. 

Building on the impact of “Sober” and the projects like ARTchives, Together Again, and Who I Am that followed, her latest, DND,  joins the ranks. The 12-track EP showcases her consistency and determination to be more than just a viral sensation. Her ability to craft cohesive projects with a distinct sound brings fresh energy to the R&B space right now. During a recent meeting with her in London, we discussed everything from her creative process for the EP to her musical inspirations and journey thus far.

Hi, first of all, nice to meet you. For any of our readers who do not know who you are, how would you describe yourself to people who are just meeting you?

I would describe myself as someone who loves unapologetically. Someone who values fashion and always looks to put a smile on someone's face.

How would you describe yourself in terms of your sound?​

My sound is very vulnerable and raw, with a way of cutting through. I'd say it's soulful too, which makes sense because I grew up on a lot of soul-inspired music.

How did your love for music begin, and what would you say was the thing that brought you to want to pursue being an artist?

My love for music began as a little girl. My mom never missed a moment to blast music throughout the house; a whole lot of Anthony Hamilton and Jazmine Sullivan at that. I used to dance too, so my ability to connect with music has always been homegrown. I began pursuing it in college after my friends heard me freestyling in my dorm. They literally forced me to the studio, and I haven't left since!​

You have released several bodies of work so far. What would you say has changed from when you started making music to where you are now?​

What changed was my knowledge and my understanding of what it took to really do my best work. My eagerness to work with others, my willingness to stay a student and just my life experiences overall. I've grown so much, and at times I don't even realise it because I'm just doing what I love. But there are moments when I can pause, look around, and see just how far I've come.​

In terms of your new EP, DND, where did the process for that EP begin for you?​

The process began a year ago. I was working on the song "Questions" in April, and at the time, the feeling of that song was where I was, but I wasn't quite sure how to build out the story from there. Fast forward about 6 months after that, and that's when everything began to fall into place on its own. I stayed in the studio, and I worked and worked, and the project literally built itself.

How has it felt making the music on this EP compared to your last body of work?

Honestly, it has felt like a stepping stone towards the woman that I am working to become. I feel like in life, it's hardly ever a chance where you can skip steps, and this is that moment for me. DND is where my healing lies, it's where my truth lies, and it feels extremely strong. I am excited to see the doors that open once the world hears it.​

What would you say has been a standout moment for making the EP?

A standout moment for making the EP was the making of "Shut It Down.” That moment right there was something I'd never forget. The feeling during the session, the way everyone was so tuned in, and the way it felt to hear it out loud on the speakers after recording it were definitely the final pieces of the puzzle that allowed us to complete this.​

Lyrically and sonically, how did you shape the direction of the EP?

I shaped it in a way that tells a tale between me and me only. Because I struggled internally, it showed in my inability to focus on loving just one woman; I always felt the need to want more. So it goes through this cycle of having a main woman, but not having enough of those on the side either. I tried to get the production in line with that feeling so that, as listeners engage, it feels like they are standing directly in my shoes.​

In terms of the songs and the themes you address on the EP, what was the writing process for you in this EP?

The writing process, honestly, was easy this go-round. I believe it was because the story I had going into every session was perfectly put into a song. So any time I worked with any other songwriters, they knew exactly what I was trying to get across just by telling my truths.​

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You are somebody who has always had a distinct look to them in terms of your style and how that comes across in your artistry. How has fashion been something you have been able to explore in how you express yourself as an artist?

Fashion has been my safe space in the world. When I'm able to dress how I want, it gives me a level of confidence that I take with me into every session, interview and onto every stage.​

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

I want them to know that no one is alone in this fight to love and be loved. As if it should even be a fight. We live in a culture now where the epitome of love is what someone can do for you, but what about how someone can make you feel? How does someone show up for you? And although I struggled to do that with only one woman, it never took away my ability to have a heart and to love.​

What was the hardest song to write on the EP?​

I wouldn't deem anything as hard, but the toughest song to record might've been the record "Binge,” because I utilised my vocal tone and range more in this one, and sometimes that's a challenge for me!​

What was the moment you knew the EP was finished?

I know the EP was finished after the recording of my single "Shut It Down.” It just felt like the icing on the cake for me!

As you’ve been on your journey so far, what have you learned about yourself?

I learned that it's so easy to get caught up in what this industry brings that sometimes I forget I'm just a human. So I've been giving myself more grace, being more patient and truly allowing myself to enjoy the journey. Everything that has happened thus far, I can't get back. And I don't want to blink and look back and realise that I never gave myself a moment to just enjoy the fruits of my labour.

Team Credits:
Creative Director & Photographer: Dhey Artopé @dheyartope
Creative Producer: Whitney Sanni @its.whit_
Stylisting Assistants: Imara @imarasarchive Kandyce Hogan @kandyce_hogan
Set Designer: Riya @rjdznz
Assistant Set Designer: Alero Helena @aleroart_
Props: Aaishah @aaishah.xox
Hair Stylist: Jemima Boateng  @dsrhair
Movement Director: Kelvin @kvngfeds
Co - Producer: Dhey Artopé @dheyartope
Creative Assistants: Gift @.gifteyy Sharelle Grace @sharellegrace Imara @imarasarchive
Gaffer: Ariz @_aryzza
BTS: Rimaz Yousif @shotbyrimaz. Jay @jayproducer_Nathaniel @nathanielfilmsuk
Models: Aysha Urqhart @ayshaurqhart Riley @ril3yplayz
Interview: Seneo Mwamba @seneomwamba
Design: @shalemalone | @dianeadanna

On the night of April 20, a six-metre mountain of ice appeared in a Toronto parking lot at 81 Bond Street, cordoned by metal barriers and stamped with four words: "Release date inside." By midnight, it had just about 800 people around it. Police from three divisions. Firefighters. A sign that read "Danger Do Not Touch." Hordes of curious fans. An inspired car giveaway. And a Twitch streamer with a blowtorch to save us all the trouble. 

This was the latest development in Drake's album rollout for "Iceman", his ninth studio album, now confirmed for May 15. For whatever kind of marketing or branding strategy you thought it was, you simply can not look away from the spectacle that it is. Before the big reveal, the stunt had been building for days. Drake's courtside seats at the Toronto Raptors' game against the Brooklyn Nets at Scotiabank Arena were frozen into sculpted ice on April 12, and the footage did not take long to go viral. 

Only days later, a confirmed explosion shook Downsview Park in north Toronto, which the city confirmed as a production tied to the superstar. Then came the announcement of the coordinates from his record label. Then the blocks of ice and chaos. Curiosity had fans climbing the structure, lighting campfires on top of it, and attacking it with anything they could find, including pickaxes and, weirdly unsurprisingly, a blowtorch. 

Twitch streamer Kishka eventually extracted a blue bag marked "Freeze the world,"  while live-streaming the discovery. The rest of the reveal was done at Drake's "The Embassy" mansion, where Kishka, directed by Adin Ross, walked away with a sealed bag of cash as a reward for quite literally breaking the ice. Other items found in the structure included a white t-shirt that read "2026 will be my year" and a blurry selfie of the Canadian rapper.

Drake himself posted his reaction with characteristic grandiosity: "THIS ALBUM BOUT TO PLAY INFINTESEMELY KNOW DAT," and the internet, from experience, will completely oblige him.

From this writer's perspective, it is rather difficult to watch this rollout and not notice what it is also doing beyond the optics. For context, "Iceman" is Drake's first solo album since his 2024 feud with Kendrick Lamar; a period in which he was publicly and comprehensively outmanoeuvred. Kdot's "Not Like Us" became an anthem of his humiliation, and his authority as the dominant figure in hip-hop was genuinely contested for the first time in a decade. 

The ice metaphor throughout this rollout campaign is not neutral. Coldness. Imperviousness. Control. A man preserved beneath the surface, untouched,  and in wait. The rollout is not just clever marketing. It is a carefully constructed counter-narrative that, on Drake's end, buries the conversation about the feud entirely with a louder visual response of unflurried composure.

Ultimately, whether "Iceman" justifies the mythology it has already built is a question for May 15, and given the artist that Drake is, that justification is already in order.

Recently, social media, particularly X, was abuzz with reports of the leak of  Legend of Aang: The Last Airbender in light of Paramount Pictures's decision to forgo a theatrical release in favor of a debut of Paramount+, its streaming platform. While the move was widely viewed as a strategy to drive streaming viewership, the leak quickly shifted industry attention. 

Animators behind the project have publicly discouraged consumption of the movie, framing it as a direct affront to their work. Yet, beyond the immediate controversy, the incident reflects a broader pattern: leaks are increasingly tied to audience dissatisfaction and evolving distribution strategies, an intersection the industry continues to underestimate.

The intersection of institutional missteps and digital vulnerability is increasingly difficult to ignore. Studios are making distribution decisions that often sideline audience expectations, even where legacy is involved. First released in 2005, Avatar: The Last Airbender remains a culturally and commercially significant property, with a multigenerational fanbase and proven expansion value through The Legend of Korra. 

Anticipation around The Legend of Aang: The Last Airbender was therefore not incidental but tied to nostalgia, franchise continuity, and monetisation potential. Against this, Paramount Pictures’ decision to bypass a theatrical release heightened exposure risks. Other cases, from Game of Thrones to X-Men Origins: Wolverine, are reflective that leaks often emerge at the intersection of distribution uncertainty and internal content handling. Based on this, a pattern emerges - these incidents are less about fan opportunism and more about structural vulnerabilities shaped by corporate strategy.

The scale of the problem is well documented. Movie leaks cost the industry an estimated $29 billion in lost revenue annually, disrupting marketing strategies and effacing relationships between studios and their production partners. This is where the structural problem becomes clear. Content no longer lives only within studio walls. It moves across a web of localization vendors, post-production houses, animation partners, and cloud platforms, potential entry points. Employees with privileged access may copy or leak content before release, and early leaks can cost millions in lost marketing value. 

The human cost is just as important as the financial one. The movie's director, Lauren Montgomery, confirmed the film had wrapped up after a four-year production journey, expressing pride in the work while noting its now waiting for release. Those four years of creative labor belong to a group that has already absorbed a blow from Paramount's theatrical reversal. The leak delivered another.

Hollywood has known about its security vulnerabilities since at least the 2014 Sony hack, when  hackers stole and released mountains of private data, exposing executive emails and business affairs that upended careers and relationships across the industry. Years later, studios still outsource to vendors with insufficient controls. Content pipelines still move sensitive files through email. And audiences still find themselves holding a leaked film months before its release date.

The “Aang breach” is not an anomaly but a symptom of lax vendor oversight, audience alienation, and an industry that keeps treating security as a cost centre rather than a creative imperative. Until that changes, the vault will keep breaking open.

(Cover Photo: via X)
IG: @muyiwavstheopp)

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Kenyan R&B singer-songwriter Bridget Blue has quietly built a name for herself through emotionally rich songwriting and a soft, controlled vocal style–first gaining attention through covers before releasing projects like ‘Colours’ (2022) and ‘24’ (2024). With her latest album RNB, she delivers her most cohesive and fully realized work yet.

At just 12 tracks long,RNB feels less like a playlist and more like a slow-burning conversation, one that unfolds with intention and emotional precision. It’s a project that trusts its own pace and in doing so, invites you to sit with it. Across the album, Blue leans fully into a sound that feels intentional, unhurried and deeply rooted in emotion, reaffirming her place in the ever-evolving Kenyan R&B landscape.

Blue describes the album as,”[me being] bare and vulnerable and just pouring my whole soul. It’s what I truly wanted to say for so long.” From the opening notes of ‘Ngozi Kama Jua,’ there’s an immediate sense that this is not just a collection of songs, but a carefully constructed body of work. Tracks like ‘Ni Wewe’ and ‘Mbuzi’ glide into ‘Sober’ with a natural ease, each record feeling like a response to the last. 

By the midpoint of ‘9 to 5’ [Blue’s rebuff of the pressures to be more digestible, singing, "I'm too pretty for a nine-to-five / Too loud for a quiet life / Biting my tongue just to stay polite…”] and ‘Waters of My Enemies’—the emotional stakes deepen, before easing into the reflective warmth of ‘Always Mine’ to reveal a record created with a cohesive narrative about love, vulnerability, self-awareness and emotional release. Even towards the closing stretch, ‘Set Me Free,’ ‘Kuna Yule,’ and ‘Umbrella’, there’s a sense of arrival, like the emotional arc has come full circle as evidenced in her live listening sessions to promote the album at KODA Nairobi.

Lyrically, she remains just as compelling. Whether it’s the tenderness of ‘I Choose You’ featuring Bien–a masterclass in vocal chemistry with over 4M+ streams currently–released late 2024 in the lead up to the album. Bien’s textured, expressive delivery folds seamlessly into her softness, creating a duet that feels rich and layered. Similarly, ‘Mimi Na Wewe’ with Nikita Kering is nothing short of a “soundgasm.” For fans who have long imagined what a meeting between two of Kenya’s most compelling R&B voices would sound like, this track delivers–and then some. Nikita doesn’t overpower or get overshadowed; instead, she meets Blue exactly where she is, and together they create something immersive, lush and deeply satisfying.

And perhaps what’s striking is that Blue doesn’t rely on these features; they simply expand her world. They add dimension without taking away from her center, which remains strong throughout the album. In the broader conversation about Kenyan R&B, RNB feels like a defining statement. The genre has been steadily growing, carving out space both locally and globally; and Bridget Blue’s name belongs firmly within that conversation [with her] stating, “I feel like more true R&B singers are coming up, and I feel like they are not shy about it anymore.”

That ability to captivate in the most ordinary settings has evidently been part of her magic since her come-up. And the growth is undeniable. Ultimately now with ‘RNB’ Bridget Blue is rest assuredly stepping into her sound, with a clearer identity and confident execution–or at the very least, fully realized in this current phase of her artistry.

With the city stretched out beneath them, skaters, DJs, and fashionistas alike gathered on The Mall Rooftop in Westlands, Nairobi, on April 12th, 2026. Staking claim over everything the light touched, event organisers Jelimo Cheboi and Antoinette Apondi of GirlSkate Nairobi assessed the expanse of East Africa’s creative scene from their throne in the empire. The rapid rise of skating on the continent has reached new heights amongst the youth, through tailored communities inviting people of all interests, ages, and abilities to take part and find a home. What Cheboi and Apondi found, though, was a disconnect between the inclusivity advertised and its reality, particularly in the creative space. 

What began as an innocent interest for inclusion and growth has turned into an Eden-esque escape for any creative, honouring the multi-hyphenate, non-confirmative youth in Kenya’s capital. From creating space for women and non-binary people to call home in a male-dominated area to today’s inclusion of music, fashion, and art in their mission, GirlSakte Nairobi’s reach is shedding light on the true vehicle of change, redefining culture for youth in the Eastern region of Africa.

Founded in 2023, GirlSkate has spent the last three years disrupting the marginalisation of women in skateboarding and creative spaces, starting in its home country and spreading abroad. Posting a collection of skating lessons, informative videos, and community events, the organisation was founded on inclusion and has extended its ethos to the East’s blossoming creative economy and more established cities, like London.

Cheboi, who started skating in 2022, recalled getting her first board, saying, “I had never seen a skateboard before or anyone who skateboarded apart from online or the movies or TV shows.” Today, the story has changed, with women openly skating through the streets and exploring self-expression through the community and opportunities it’s created. Her co-founder, Apondi, has been breaking down boundaries in the skating world and felt like the perfect example of what could be achieved, as she grew up skating - often as the only woman - and has been vital in representation and teaching newcomers. “What we’re doing,” Cheboi says, “is creating a more inclusive culture, where everybody is invited, and anyone can be a part of it.” 

Since starting, The Mall has been sort of a ‘home base’ for the organisation. Home to their weekly sessions, lessons, and their Skate & Sound collaboration with Santuri Music Group also based there. The collaboration, intended to inspire a sense of community, brought members of GirlSkate together, creating bonds after expressing one facet of their identities. 

“Skateboarding is a very attractive culture that brings in people from all kinds of artistic disciplines. We have people who are skaters and musicians, graffiti artists, fashion designers, fashion stylists, content creators, photographers, videographers - they usually all find themselves in this place… It draws people together into [a] space where there is so much creative energy, and we encourage a lot of creative collaborations and connections.”

Most recently, in collaboration with the Skateboarding Society of Kenya (SSK), Members of the Earth and GirlSkate welcomed Zimbabwe’s Push Project to the 254, where an impromptu Skate and Sound found skaters as fashion designers and models. Unlike other skate jams hosted by the community, the views and music from the DJ gave way to a runway show of Nairobi-based and Zimbabwean designers spearheading a creative crusade. 

Having caught the attention of VOGUE, the Olympics, and Jordan with their work over the years, GirlSkate’s growing numbers have allowed their vision to follow suit. What are now known as Skate Jams paved the way, allowing aspiring DJs of any gender or skill level to play as skaters and skate enthusiasts hone their skills or catch a vibe. Dressed in popular, homegrown streetwear brands like Studio18 and PE$OS Nairobi, skate skills aren’t the only things expressed against the backdrop of the city’s skyline. Regional collaborations with Rwanda’s Fragile, Uganda-based Tutaabale, and skate shop Skating is Risky! have continued fashion and skating’s affair across borders, with equipment and funding flowing into the community as well.

Larger-scale activations and skate presentations, like Uganda’s annual Nyege Nyege Festival, Tanzania’s Boogie in the Bush events, and the PESOS x Grade Africa Protect the Future Event last month, have brought global eyes, connections, and tourism to the city and the group. Their most recent visit from the London-based skate group, Melanin Skate Gals and Pals, for the Kilele Summit, proves that fact.

Quick as it’s been, though, the birthing pains of the movement have been felt around the continent through the likes of Ethiopia Skate, Nigeria’s Dencity, Surf Ghana, and Skateistan in South Africa, to name a few. Recent statistics show the Middle East & Africa (MEA) skateboard market is expected to reach $224.3 million US dollars by 2030, with specific goals around the continent to recognise skaters to compete and provide representation, particularly as the 2028 Olympics loom. 

Continuing to create space and visibility for youth and women amidst this push remains of the utmost importance to Cheboi and Apondi, as well as coping with disparities in equipment, skill growth, and a lack of skate shops.

“Gaining global recognition is very important because it shows that we are legit - that what we’re doing is [valued] on a public stage. It grows our reach and makes people know that skateboarding exists in Nairobi and in Kenya. That women are running the scene itself. There’s more opportunity that comes with it - we get more partnerships and people [who] want to work with us. Or they want to fund what we’re doing because it’s really difficult to work without any support. ” 

As they look to the future, GirlSkate sees skating in the stars. Cheboi said, “I can’t even believe that this happened in a few years...it’s really grown, and it’s opened up so many possibilities. Now every time we have events or skate jams, we have women participating, women are organising - previously, this was a dream. It wasn’t even possible for women to participate or compete against or [at] the same time as men.”

A recent grant awarded by a French organisation, SOA Paris, has given them the funding they need to host a pilot project in June, aimed at improving their skaters’ skillsets. “For now,” Cheboi said, “we’ve definitely shattered a lot of stereotypes and [stigmas]... we’ve won awards to do this, so I think there’s nothing stopping us now.”

IG: @clungaho

Under the creative direction of its founder, Florentina Agu, Hertunba has churned out 16 collections of wearable art pieces so beloved that they've made multiple red-carpet appearances on Wunmi Mosaku. In the earthen backdrop of moulded clay pots and handwoven rafia rested on a wall, their collection was displayed, and it was deeply conceived as it was beautiful. As with most collections, the clothes are regal, structured and in some cases, traditional but still have a whimsy touch to them.

Founded in 2020 on an ethos of sustainable African craftsmanship, Hertunba's clothes are African opulence embodied. This collection takes the meaning behind their brand and extends it by a mile. Titled Akaoru, meaning handwork, the collection is a celebration of craftsmanship carried through 24 looks which includes a few collectibles.

Very textually rich, the collection comprised handmade pieces from traditional techniques like textile weaving, aso-oke pieces and akwete, alongside pieces from more contemporary handcrafts like crotchet. Beyond fashion-centred crafts, Akaoru is a celebration of other artisanal techniques including woodwork. The collection's only accessories and perhaps most standout pieces are a mahogany bangle and a wood-carved mahogany bag etched with Nsibidi markings, a precolonial writing from Cameron and a few south-eastern Nigeria states. The fabric of some pieces were handpainted with palm tree, hut and other ‘African’ motifs. 

What really makes the collection stand out are little sartorial elements. The parallel-placement of the stripes on the aso-oke, the tail of the wrap dress, the silhouettes of most pieces all point to asymmetry as the brief for the tailoring. In terms of silhouettes, they did something cool with sculptural piece silhouettes. But for the most part, the pieces bring back silhouettes they’re loved for. Like every Hertunba collection, there’s Bubu, this time as a two piece bubu top and pants stamped with the x motifs. The pencil cotton dresses have hand straps that are akin to the surrealist playfulness of Dona design.  

The collection, in general, does a great job of balancing different textures and elements and meaning, but it lacks freshness in creativity. Some pieces in the collection are old or reworked, such as the Dona top and Mowa set. The Ẹwà necklace top, for instance, although beautifully readapted with African beads, is one Pinterest search away from finding the same thing from different designers. Other pieces too resemble each other so closely that they don’t feel distinct. 

For a brand like this that’s had massive attention lately for its artistry, a new collection would have been better off showcasing mostly new designs that strengthen its hold in the industry and define its place. Akaoru will sell because it’s beautiful, but ultimately, it’s yet another example of how a focus on commercialisation can dampen artistic expression. Clearly, fashion designers—especially those who want to make money—have to keep up with trends or predict where things will shift and create along those lines. Generally, designers also try to match the taste of their customers, but when that taste comes through too strongly, it makes the design feel commercial and, therefore, fall flat on the innovative side.

The 2010s Classic African Songs Revisited Through Gen Z

If there were a magical button that could bring me back to a period in time, a music era just for a day, before safely returning to the modern age, then it no doubt has to be the early 2010s. In a time when we were just introduced to the first iPhone, social media platforms were about collecting memories, instead of fabricating them, and everyone was less self-absorbed or micro-online. The earliest tastemakers knew how to test the waters, bringing the vibes organically while getting us hooked to the most legendary dance moves, fashion perks, and community gatherings.

Now that trends evaporate out of thin air and no longer hold the same impact they used to, internet culture tends to recycle the past, claiming it as new, while forgetting what brought us here today. That is what our new content series, Forgotten Jams, is all about: going back in time to reignite a feeling, view the world through a nostalgic lens, and making us whine our waist left and right, even if it is just for one more night.

When we tell you that these songs, theese songs, will forever be ingrained in our memories, there’s no exaggeration here. For a lot of Gen Z’s, now young working adults, those are the moments that defined our childhood, whether you were in South London through the wishy-washy weathers, or stuck in Lagos in the sub-Saharan heat. Deeds Magazine carefully selected a list of songs that have the power to revisit your past self and reignite your inner child that hasn’t felt like themselves since the good ol’ days.

Her Name - Sneakbo

For me, one of the artists who defined the early 2010s is none other than Sneakbo. Coming from Brixton, of Nigerian descent, his bangers always felt close to home and a staple to the broader diaspora community in the UK & Europe. Sneakbo’s ability to mix electronic productions with an Afropop flair, and on top of that, rap lyrics that make your head bop, can only be described as chef kiss. ‘Her Name’ in particular stings like glue because nothing could have prepared us non-Igbo speakers, now as grown adults, for the meaning behind some of those lyrics.

To this day, we don’t know why our Nigerian friends could not have warned us what the word “Ashawo” means, and instead danced Azonto along with us when the chorus hit the speakers. That being said, a moment has been had. All confusion can easily be washed away with a glass of gin and a radio anthem.

Kukere - Iyanya

“Visit IROKING.COM for more Nigerian Music” Are we seeing a trend here? This is because music videos dominated the 2010s, and Nigerian artist Iyanya’s ‘Kukere’ is no different. All you needed was a catchy refrain, captivating visuals, and a few dance moves, and you had yourself a hit song. Iyanya sent waves to the dance floor, adored by children and old people alike. Exactly like the Efik language suggests, don’t worry. And that message was felt as soon as we played this song and sang the first lyrics: “All my ladies / All my ladies”. Wow, they don’t make it like this anymore.

If we’re talking about a song that could unify every African nationality because of its universal rhythm, this was the one. Similar to the timeless video, when you stepped out in a Congolese wedding, and this song came up, you knew it was time to leave the stage and let your uncle do his thing. Looking back, Iyanya really created an uncle riddim.

Alkaiyada - Guru

The entire skit by comedian Lil Win was genius. Perhaps a close candidate that could have competed with Azonto moves at the time was the Ghanaian dance Alkayida. Guru’s song was just the cherry on top. Despite the recent controversies that gave this replay button a bad reputation, in the 2010s, this was a go-to for many young Africans. Not only did people dance to this, but it also brought us one of our first clashes between Nigerians and Ghanians. Truthfully, both regions have always wanted to claim they were first and basically argue about who had the culture on lock.

What many may ignore is that in this period, influence was much more fairly distributed, while today the dominant forces reign from Lagos and key figures in South Africa. Our playlists ranged from Kenyan anthems to Nigerian, Ivorian, Ghanaian, Congolese, South African, and so much more. In its recent surge of international recognition, the gates have shrunken, with African artists in less popular regions no longer being able to reach the continent & beyond like the early internet age.

Antenna - Fuse ODG

When British-Ghanaian artist Fuse ODG came into the scene and brought us hit after hit by cleverly watering down Afropop music, so that it may reach a broader audience, ‘Antenna’ symbolises that era at its peak. Coming of age, we realize that although it seemed like songs such as ‘Azonto’ and ‘Million Pound Girl’ were being played around the world, Fuse’s music truly spoke and connected with diaspora communities the most. This is because he used to sing in English, which was really uncommon at the time, without any sort of mix with native languages.

Moreover, we think that his success can be credited to the dance challenges that came along, specifically from a Manchester duet who had us mimicking every single move in our school breaks. It is safe to say that nobody came as close as the reign of Ghanaians in the early 2010s, and Fuse ODG was a key player in amplifying it.

Oliver Twist - D’banj

Looking back, we really have a hard time explaining the phenomenon, which is ‘Oliver Twist’  by Nigerian artist D’Banj. For example, the music video was completely different from what was popular at the time, which had a sombre look similar to the appeal you would get in an American Rap video. The song didn’t come with any memorable dance moves. Aside from the white male dressed in a  Peaky Blinders-like outfit, there really weren’t any 2010s elements we were used to attributing to–Still, we were hooked.

To think of it, celebrity culture definitely fell into play here. To have a Kanye West appearance at the time, and at the very last minute of the video, really boosted the popularity of the song. D’Banj was big, but the Americans’ Rap appeal was bigger, and there’s nothing like global influence, such as Black American culture, who have dominated culture since the beginning of Hip-Hop.

Songs and eras may come and go, like falling snow; however, Forgotten Jams is forever, and we have a ton more hits to revisit. Make sure to tune in for our next episode!

PRESS RELEASE

Alternative R&B artist kosi returns with a new single “3AM”

On “3AM” she works through the familiarf eeling of yearning for a deeper connection from a loved one and pushes the narrative further by sitting in the feeling, no longer waiting for closure, but recognizing she never needed it.

kosi wants her listeners to move in closer, letting the emotions speak and trusting them to meet her there at those moments that feel intimate, and real.

“3AM”is rooted inAlternativeR&B while still blending textured production with subtle afro and global influences, and is the first single off her anticipated EP“UpTill 5"

kosi opened up 2026 with the single “UNO” ftRigo Kamp in february and followed up with a surpised track “Her Eyes (CryDiary 1.1)” featuring producer Dan Akins where she confronts the feeling of wanting to be someone else.

Still emerging, kosi. is building a catalog with a clear sense of self. Pairing dynamic soundscapes with writing that resonates, each release pushing her artistry forward and cementing her as an artist unwilling to be boxed in.
She isn't chasing a lane.
She's carving her own.

Socials:
IG: @thatkosi
X: @thatkosi
Tiktok: @thatkosi
gmail:kosiofodum@gmail.com

An insight into how to cultivate a lifelong music career in Africa

When we speak of Black excellence, Bassa Zéréhoué Diyilem, better known as Didi B, sits at the pinnacle of that hill. Stemming from one of Africa's busiest cities, Abidjan, Ivory Coast, success wasn’t just given to him. It was something he had to fight for. Today, the heavy hitter is respected amongst culture leaders from all walks of life, as a pioneering voice who populariszed French Rap on the African continent and beyond. Together with Kiff No Beat, an Ivorian Award-winning Rap group founded in 2009,  he reached unimaginable heights for African kids from the streets, ultimately placing Ivorian Rap in the limelight.

Not everyone can claim full-dominance for almost 15 years in the music business, since his debut solo project ‘Mojo trone, vol. 1’ back in 2013. Didi B remains just as good with his pen. Through controversies and hardships, the Rap mogul not only remained on everyone’s music playlists, but he also persevered through it all. The recent release of his deluxe edition of ‘Juventus Nueva Era’ is a testimony to his power hold. Deeds Magazine sat down with Didi B in an exclusive conversation to discuss his triumphs, his shortcomings, and everything that lies in between.

Laurène for Deeds Magazine: Can you tell us who you are and where you're based? 

Didi B: I'm Bassa Zéréhoué Diyilem, known as Didi B, an Ivorian rapper. Sometimes I'm called Mojaveli or Bayo. I'm based in   Ivory Coast. 

It's not every day that we hear about an artist who breaks through in Abidjan. Can you tell us what it was like growing up there? 

Abidjan is the hub of African music. Many artists have seen their careers take off after starting in the Ivory Coast. Like any music industry, it doesn't happen overnight, that's for sure. Abidjan is the city that's always on the go, the city where our neighbors are our second family, the city where young people have supported us since our early days at Faya Flow with the group Kiff No Beat, the city where hospitality is the key word. It's the city of alloco (I didn't say Alokos, lol), attiéké, garba, and grilled fish. I grew up in all of that. I've had, and still have, some great times there. 

For us, as outsiders, when we think of the Ivory Coast, we often think of Coupé Décalé and Magic System. How were you introduced to Rap, and which artists did you listen to? 

Big up to the masters A'salfo, Manadja, Goudé, and Tino! I grew up with this legendary group, but also with artists like Alpha Blondy and Meiway, who are like father figures to me and people I admire for their talent and their ability to stay relevant despite all these years. Like every kid my age, we were into French and US Rap. But predecessors like Garba 50 and Almighty inspired me. I started rapping in Bingerville with my friends Black K and Elow'n, then Joochar and Eljay. After our victory at Faya Flow in 2010, a Hip-Hop competition, we went pro. 

With your friends, you founded a group called Kiff No Beat in 2009. The first African Hip-Hop group to sign with Universal Music. What has your journey been like? 

A journey full of pitfalls and obstacles, but also some wonderful things. We experienced a lot of firsts with the group, notably being the first Francophone African rap group at Coke Studio. The group was heavily supported by Ivorian teenagers and young adults, at a time when Rap wasn't the dominant musical genre in Côte d'Ivoire. In 2010, the group won Faya Flow, a Hip-Hop competition. Following that, with people who believed in us, like DA Carmen, our producer, and Shado Chris, our first beatmaker, we launched our professional career. As for albums, I can mention “Christmas Gift” in 2011, “Jackson Five” in 2013, “Teenage Firecrackers” in 2014, “Cubism” in 2015… along with singles and collaborations. This work has been rewarded with numerous titles, such as “Revelation of the Year” in 2011 and “Best Rap/Hip-Hop Group” in 2012 and 2013 at the Ivorian Music Awards.

Almost 15 years in the business, it’s a privilege to have you with us. What’s the biggest lesson you’ve learned? 

I’ve learned that talent isn’t enough. You have to surround yourself with a solid team, be professional, and understand the music industry.

Out of curiosity, was there ever a moment when you thought, “Wow, I’ve really reached the top. Where do I go from here?” Have you ever felt this way in your career, and how did you overcome it?

I tell myself that all the time, when I'm performing, when I release a new project, but I immediately tell myself I have to get to work and do even better. 

One thing we didn't see on the Juventus Nueva Era deluxe edition is a collaboration with a Nigerian artist. Of course, you've already worked with numerous acts like Burna Boy. Are there others in the English-speaking world that you plan to collaborate with in the future? 

I've also worked with Naira Marley and Ziloneesky on other projects. We're also working on breaking into the English-speaking market. In fact, I was the first French-speaking artist to receive Gold certification in Nigeria for my song, "Good Vibes" featuring Ziloneesky. 

There's a new scene developing in the Ivory Coast, similar to the 'Nigerian underground,' also called 'NigerianUG.' What do you think of it? This movement? 

Are you talking about Biama? If you're talking about this new scene, I find it incredible. Seeing young people from working-class neighbourhoods, like me at the very beginning of my career, getting Ivorians dancing to this musical style makes me happy and boosts my creativity. Music is about innovation, but it's also about joy, and that's what Biama conveys. 

It was actually a separate scene, but wow! You are putting us on now. One of the biggest fanatical clashes in French rap pitted you against Himra. Where does your relationship stand today? 

We're focused on the Zénith.

Finally, is there any important news you'd like to share with the public? 

The Ebimpe Stadium for next year.

Thank you for your time, Didi B.

World Creative and Innovation Day is a date set apart to raise awareness of the pivotal role a creative mind plays in human development. African art, whether music or fine art, has always been sidelined for the more accessible and, most importantly, accepted Western alternative.

When I was 15, I lounged in my brother’s Calgary apartment most weekends and was always fascinated by the drums of Fela and Roy Ayers blaring through his speakers. A sharp contrast to the African-American-dominated Rap Caviar playlist I had previously worshipped. The song, “Africa centre of the world”, repeated with a force and authority it takes to pound yam. But “how could that be?” I’d ask myself “How could Africa be the centre of the world, if African immigrants in Canada were willingly avoiding and chastising African art, because of the blessing and burden of the diaspora? But as we blitz through another decade, the tides seem to be turning up here in North America.

The giants of the 21st century, Burna Boy, Tems, Wizkid, Tyla, Fally Ipupa, and more, through their melodies, have brought back gold to our continent, with international triumphs in the US and UK such as Grammys for “Best African Music Performance” and MOBO Award for “Best African Music Act”. Though the creativity that seeps through African content has been finding its way into the frigid country that is Canada, the African musicians here fight for a different type of accolade; that of assimilation, and to be recognized as a musical fusion of two continents is already a win for them.

African-Canadian artists like GNF Ola , Biboye Onanuga, and Raphael Ezeano are a few artists  that I’ve come to enjoy while living in Alberta and being surrounded by country music. Gone are the days where you heard African musicians attempting to imitate the flows and accents seen on MTV. Songs like “pay$tack” by GNF invite listeners into, “bur bur”, the stylised genre created by Nigerian artist Mavo, meshed with the trap-infused beats of Canadian rappers. Both Biboye and Raphael retain the melodies and jazz of Fela Kuti while performing in predominantly white spaces. Raphael, who just got off a Canada-wide tour with Avenoir, brings the saxophone of his African youth on stage to show that there is a balance between his two identities within his art. 

Biboye and his band “good information music” have also caught the attention of Africans and non-Africans alike, with a perfect mix of African jazz and contemporary North American blues. Ugandan singer Jerumi has also made recent waves here, with songs like “Talk is cheap” and “Signs of miracles”. Redefining the RNB scene here, whose foundation was laid by figures like Daniel Caesar and Avenoir. 

Canadian creatives in the realm of fashion and visual arts are also not lagging behind, with brands like Cultwest, 100GB Ani , Azach , and Fiveteen Studios putting the diaspora on the map in a manner similar to the likes of Clint 419, founder of Cortiez and fashion and music filmmaker, Gabriel Moses. “We as Africans see the sun always, and the bright colors have not only influenced my composition, but understanding that I myself am the sun, and my work does not revolve around those I meet here,” says photographer, Ani of 100GB. “I can shine in my own light and melt the snow around me.” This self-assured attitude has led Ani into the backdrop of numerous commercials and editorials within the city, and he serves as a testament to the fusion that is Afro-Canadia.

Cultwest by Eyilola Ajibola uses satirical humor to criticize the capitalist system worshiped by Canadian-African immigrants upon assimilation. With graphics that read “robbers” instead of “Rogers,” (the telecommunications giant that has its fingers in every Canadian industry) Cultwest shows the other side to a soft landing in Yankee and isn’t afraid to call out a system that has neglected his kind. Last summer, Feyisitan Fakolade and Bashir Mustafa of Fiveteen Studios sprang into the Canadian fashion industry with their collection “The Dreamer’s Journey.” Inspired by their Nigerian roots and current lives in China. The Canadian space full of African creatives attracted them to tell a story of relocation and nostalgia through clothes. And for Azach, a sustainable denim brand, Africa isn’t just a spot to farm nostalgia; they have made a name off recycling and repurposing denim in Nigeria and selling it here in Canada, with the profits flowing right where the inspiration comes from. 

Whether the Africans in Canada view the country as something to critique or one to share African stories and clothes with, the freedom to do either is what is raising the value of their work within a national lens. So for every Shallipopi “with the granola and shit”, there is an equal and greater African creative that is proud of their tongue and will inevitably succeed because of it.

We Africans are an understandably prideful people, whose egos have taken us to great heights. But our worship of success may also be what is holding us back from being the true center of the creative world. We often only support established creatives like the aforementioned who have made a name for themselves, leaving only Instagram likes and “well done”s for the brethren that walk amongst us also trying to make it. So buy that handmade scarf; if it's not your fancy, spread the word. And in a foreign land like Canada, community means everything to the African artist trying to retell stories.

Research and investment into BIPOC creativity here in Canada is at an all-time high and has made it easier for the “fobs” among us to not shy away from the term, but use our heritage as an advantage in the creative world. Africa is a talent hub that has continually broken systemic barriers in creativity, and we’ve come a long way not from where we began, but from when the rest of the world started noticing just how magical we were. So on this day recognizing global creativity, take a minute to appreciate the beautiful work that has come out of Africa and crossed over the Atlantic into Canada. As our mothers would say, “charity begins at home.” And for the bigots of the world that still undermine our works, ask yourselves, we are ants to you, but gods to who?

Cover image: Raphael Ezeano

In the time that passed between 2022’s Adultsville and the recently released State of Emergency Vol. 1 British-Nigerian R&B songstress Bellah experienced a shift. k, She released a string of one-off singles, lent her voice on features like and explored a role in Channel 4’s Queenie all the while dealing with health constraints. 

With the release of lead single, “Boo Thang Bootcamp”,  in September of 2025, she appeared primed to reacquaint audiences and fans alike to the alluring vocals and witty composition that caught the world’s ear in the early days of her career. 

Now, coming on the heels of the release of State of Emergency Vol 1, we captured Bellah as she channelled her newfound energy and vibes, which have been so clearly documented on the EP. The title, which feels somewhat fitting for the state of affairs in the background at the time of its release, yet, as you press play, you are once again met with the sonic quality she has brought to the EP.  As the first of two EPs, State of Emergency is only one part of what this new era of BELLAH represents. A Bigger, better Bellah.

You just put out the EP, so how does this feel, and what has this moment felt like for you?

I've been taking it in. I've been trying to rest, I've been trying to chill out. I can scream and shout, but they've actually silenced me. especially on Twitter. I'm like, Oh, you're not coming out of the woodworks.

You took a bit of a break, and now you're back. So even when it was time to come back to music, what said, 'I think I'm ready to come back'?

I feel like I never really stopped creating. I took a break, but I was always creating with this project in mind; it just wasn't as consistent. It was just more sporadic and a bit chaotic. For the whole of 2024, we were looking for a situation where I could release the music, and the moment I got the chance, I was like, ”bet go, I'm ready to do it now.” There is only so much time I can sit on music before I feel like “I'm over this as well. I don't even want to hear this anymore.” So that was what it was. The moment that there was an opportunity to do it,I did.

Do you feel, especially in this current climate, that there is a constant need to always be producing and creating? And how do you think that has impacted   how you feel when it comes to making music?

I find that the thing that's working in my favour right now is that because I took that long break, I made a lot of music. Right now, I'm not feeling the pressure to constantly produce music because there's so much music. However, I do believe there will be a time when I'm caught in the very present version of these events. I already feel that way when it comes to content, just being present, and showing that I'm breathing online. If I could, I would drop my music, log off, and be Frank Ocean, riding a bike in Portugal somewhere. I wouldn't do the internet stuff, even though I'm chronically online. I like to be a consumer of things, and if I don't have anything substantial to offer, I don't want to. The friction between me and this current climate is that I don't want to serve the quantity master, because I serve the quality master. That being said, I also understand that we're in a new space, and the algorithm isn't nice to you if you take breaks. It is a weird balance to strike at this time, because I want all the hard work I've put in to pay off, but I also don't want to be doing stuff for the sake of doing.

State of Emergency, that's quite a bold statement and title for the project, and so where did that title and the whole idea for the EP come from?

I made a song called “State of Emergency,” and it felt so big and so amazing that I named the project after it. So then I was like, okay, this is my brief, and  I'm going to make all the songs underneath this brief. However, there's power in the tongue, and there were so many emergencies happening in and around me. I was like, " Rah”. I didn't even know the state of the world was going to be this nuts when I released the project. So things were becoming more fitting for the title. At first, I was trying to make it with the vibe that we've got a state of emergency in UK RNB, we need something to shift, we've got to ring the alarm, we've got to wake people up. But then it started to be about myself, and self-reflection and self-awareness and questions like what aren't you taking seriously? Ring that alarm. Is it your boundaries? Is it the way you treat yourself? Your health? Is it your mental health? Then obviously, given the state of the world, what it is, I just want people to find 20 minutes of relief from all of the rubbish that's going on. So it took on so many meanings, and when you hear the music, I want you to feel something very visceral; I want that to be urgent, the way you feel. But it is very broad and has so many, and I'm really grateful for that, because you can explore the project in so many different ways. It's such an umbrella term that can be applied physically and metaphorically.

Where did that sound and the palette for that begin, and how did you sort of build that? Was there a specific thing that you were trying to capture with the sounds of the EP?

So every time I went into the studio, I knew the sounds had to be immediate when you heard them. I had songs like that that made the project feel like “Boo Thang Bootcamp” and “Typical”, where you know the moment you hear it, it's fine. But I would go into the sessions and say, "The project is called State of Emergency." So, give me something that speaks to that. And so, for things like “Critical Condition,” I came in with the title and said, “I want to make a song like this, but how do we spin it?” And “Burning Desires” became “Burning Desires”. It was called "Triggered " first, and then I wrote the second verse. And I wrote it before I named the project. So when the project was coming out, I was like, "Oh my gosh, I could change the name to' Burning Desires. '" I can change the hook, and it can fit inside this world, and God just made it work out for me in that way. But I think because my intentions were set on this theme, things were just kind of bending towards my will. Things were just making sense to me.

The Bellah you were you when you first started making the EP, versus who you are now? Where would you say you are now?

The Bellah now is the most assured version of herself. Adultsville feels like I was figuring it out, not only sonically but lyrically. Whereas this feels a lot more introspective and assertive: "These are my boundaries; this is what I'm setting for." These are my terms. So now, I'm in the space of what exploration takes place when we understand each other, because I was trying to understand you, and now I'm telling you what I want you to understand. For me, the question is “what happens when we have a certain understanding of each other?”. Hopefully, I can explore that in certain spaces; I still feel like there are stories I haven't told yet, and I'm excited to write about them. So I will be dipping back into the historical archives, because I feel like there are songs that haven’t come to fruition because things were happening whilst I was writing that I'm like, okay, well, I need to log that for when I do the next one. I'm more assured, more confident, and more understanding of what I want and where I want to be, and I'm less okay with just taking it as it is. I'm less okay with accepting circumstances and excuses. So, I'm more assured, more confident, and more open to making things change if they don't want to. For me, you know,

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You are somebody who has always been open and vulnerable when it comes to the things you talk about in your music, and so even when you open up in that way, is that something you find easy to do when it comes to expressing yourself in that way?

I've grown up with a mom who has allowed me to express myself in a way that lets people see beyond the surface. She is a social worker, a psychotherapist, all that good stuff. So, I've been having complex emotional conversations from a young age, and as a creative person, it's easy to write about these complex feelings because that's the nature of the conversations I have at home most of the time. Musically, I just surround myself with people who are better than me and who create a safe space for me to have these nuanced, complex conversations. And so, I think when the conversation meets the musical ability, it creates Bellah. I love speaking to people, I love getting through to people,  beyond the surface level. I love encouraging people. I love understanding that trauma plays a big part in the way we communicate and interact with each other. I love that everybody has their story, and I'm also aware that everybody's not able to communicate their story the way that they need to or as effectively, and so that's why I believe sometimes putting things that people are too scared or too shy to say in songs gives someone an outlet for something because they may not have known how to articulate that before they heard the song, or before they spoke to me. So I think the human experience is much deeper than people make it out to be, and I want to be part of helping people uncover it.

Even in striking that balance of you being able to still have certain things that you know are yourself, and you know how to sort of toe that line and just make sure that you as a person are also protected within yourself?

I don't think I toe the line in the sense of, ”this is what I want to share with the Internet, this is what I gotta keep.” I think that because these experiences are my own, no one will ever fully understand what I'm going through.  So, my vulnerability comes from trying to get us as close as possible to the understanding we need, so that your empathy or understanding can be triggered. I feel like even when I speak about my sickle cell, I can tell you how much it hurts, but you will never know, because you don't have it. There are things I keep away from my social media, like personal things: this is not a conversation I need to have; this is just mine. But the things that I choose to have a conversation about, I really try to let people in as much as possible, because I know there will always be a certain door that you can't open, because it's not your door. However, I can get you as close to the stage as possible, so that you have an understanding of who I am. I think that makes artistry more interesting. I think it makes people more invested in other people's stories. Sometimes I find a disconnect between specifically more RNB artists that I don't really know because you're making such emotional music, and there's nothing for me to like, grab onto, and it's not to say that I want to be nosy and know your life, but there's nothing for me to connect the music and the person as one entity. So, I try to give people an experience where they know this has come from a place, and I understand the place it's come from, even if it's in my own special way.

Those are the moments that you actually need, because those are the moments we actually are able to, you know, check in with yourself. Yes, happen to be like, okay, you know what I am. And you know, there's always the whole thing about one's identity and, like, you know who you are versus what you do. And, yeah, especially when you are someone who's like, you know, a performer or just like, in any sort of, like, outward-facing position in life. You know, people see anything, okay, oh yeah, that's a doctor. She's diseased. But it's also about being like, "You know what?" I am that, yes, but also I'm, I'm more than that as well, you know? And sometimes you don't get to actually realise and understand what that is, until you're out of that space, space?

That is what happened in my time down, the Self Realisation. My mom always says that you're a human being, not a human doing. I live by that now. So, when I say I'm more assured, I'm like, okay, cool. The music is amazing. Everything I'm doing is amazing, but if I stopped doing it today, I would still be just as amazing. I just know that this is the music being low-key, part of my rebellion. It sounds mad, but as I exist right now, these things are not supposed to be working for me. So, it feels like my own version of a revolution, like a middle finger to the systems at be. I get to live my experience, do my human experience the way I want to, not the way you've told me and everybody else I should, but again, all these realisations happen, like you said, in the downtime, yeah, yeah. And I think, because of the downtime, I get really excited to do the things I want to do.

Coming back

My excitement for music right now is because of the downtime, because I have a completely different approach. Whilst I was creating great things, there was an air of desperation that wasn't the good kind. It wasn't the desperation that would get you out of bed in the morning. It was the desperation that came from a very empty place, the kind of desperation that needed Validation to satiate it. Whereas I feel like the desperation I have now isn't about others' validation, but for seeing what I am capable of, seeing what I can do in my time here. I feel like my life is a bunch of really big side quests. So, like, world domination is one of my side quests. How do we get a Grammy side quest? You know, like, and it helps me just wake up in the morning and do what I need to do. And, you know, feed, water, what I need to water, feed, what I need to feed, knowing that the amalgamation of the things that I'm doing is me and not just this one thing, and not just this one sector, So everything's a side quest, which makes everything the main quest, which, you know, in turn, makes everything the side question is a complete circle.

Even as we've spoken about, where you are now, like even in what you've in, what you've just said, and everything, what excites you about, like, you know, this new space that you're in, and just like this new era, and everything?

I'm excited that, for the first time, I’m being my most authentic self, and I’m finding that people are drawn to me more. The idea that people are witnessing me as I am is exciting because it means they're here for the growth, for the journey. And so, the thing I'm most excited about is taking everyone on this journey with me. It's really edifying and heartwarming to know that people just want to see me, not a version of me I put on.

For you, what has been the difference in, you know, creating volume one and then being in the essence of volume two?

Volume One was supposed to be longer, and we had to split it. So some of the songs on Volume One are on Volume Two, and then I'm creating fresh new energies to go on Volume Two, and I think that's what it needs. So I’m excited to kind of curate something based on what we had and how to elevate it. So I can't wait to feel the New Energy and be excited. I feel like volume two will be the one I listen to a little bit after it comes out, since it will be fresher and newer to me., I've cleared up the space in my brain. I'm waiting for the new, fresh downloads. I can't wait for the new downloads. I can't wait to bring the new confidence into the studio. Well, I have it now, but I can't wait to see how that manifests in the studio. So yeah, that's the energy I'm entering with, excitement, anticipation, bigger, better Bellah period.

Team Credits:
Photographer & Creative Director: Will Sousa @wc_sousa
Producer: Seneo Mwamba @seneomwamba
Creative Producer: Zekaria Al-Bostani @zek.snaps
Makeup Artist: Lake Sanu @lakesanu
Hair Stylist: Tomoya Jasmine Eastwood @valoreuk
Fashion Stylist: Jaden Salman @jadensalman
Styling Assistants: Evrade Loredana @evradeloredana & Daniella Fitzgerald @daniellafitzz
BTS Photo & Video: Rimaz Yousif @shotbyrimaz
Design: @dianeadanna
Writer: Seneo Mwamba @seneomwamba
PR: @ourhousepublicity

In August 2010, a teenage Wizkid posted on X: “I like Fally Ipupa’s music nd style!! lol.. tho I don’t understand wat he say’s bt d tin jst sweet!..” A year later, in October 2011, he was back: “gatto do something wit fally ipupa too!!…” He eventually did - on 'Yakuza', roughly a decade ago. Now they have 'Jam'. Some things are simply inevitable.

West Africa has always felt the pull of Fally Ipupa’s sound travelling across borders, subverting language and cultural barriers for years before any formal introduction was necessary. “Jam” is one of those moments.​​​​​​​​​​​​​​​​

For the West African listener encountering Fally Ipupa properly for the first time, the context matters. Often referred to as the “Prince of Rumba,” Fally is a Congolese musician known for his tenor vocals and his fusion of Congolese rumba, soukous and ndombolo.  This year marks 20 years of his solo career which began with the 2006 release of his debut studio album Droit Chemin. Set to honour 20 years of relentless hits, he is set to release his eighth studio album, XX with performing two back-to-back sold out shows at the Stade de France.  

“Jam” sits within XX as  a reunion of sorts, the two artists having last worked together roughly a decade ago on ‘Yakuza’.  But those old tweets reframe the collaboration entirely. Wizkid’s admiration for Fally did not begin in a studio. That is the most honest kind of appreciation there is, and ‘Jam’ sounds like the product of it.

The song does not rush. Fally’s vocal runs carry the weight of the track while Wizkid moves alongside them, unhurried, his delivery fitting the soukous-influenced rhythm rather than pulling against it.  Producer Trésor Riziki keeps the production clean, blending organic and electronic textures without crowding the space the vocalists need.  The soukous-influenced rhythm underneath is the kind that the body recognises before the mind does - familiar on first listen, satisfying on every listen after. The hook is simple and stubborn. It stays.It does not demand anything except attention, and it rewards that attention without making a fuss about it.

When fans found those old tweets and replied “Now we have Jam” -  they were marking something beyond a release. Fally Ipupa has spent two decades being one of the most significant artists on this continent. That this is many people's first proper encounter with him says less about the music and more about the walls that have kept African scenes from fully hearing each other.

IG:@ffeistyhuman