The easiest thing to do with Siraheem is not listen. Son of Chief Razaq Okoya, billionaire industrialist and founder of the Eleganza Group, he arrived in the Nigerian music industry carrying a last name that preceded every opinion about him. The naira abuse scandal. The bowling centre charges $5,000 membership. The "nepo baby" label that followed him from comment section to comment section. By the time 'Bad Bitch Syndrome' went viral in 2024, the internet had already decided what Siraheem was - a rich kid playing musician, backed by money that made the playing field anything but level.

Then he sat in front of a Glitch Africa microphone and performed 'Iseoluwa', 'Soweto', 'Kowope' and 'Brazil Bounce' without the armour of production, without a crowd to feed off, without anything between the voice and the listener. Eight days later, Twitter is still processing it.

The reactions have a specific texture - not the usual "this is good" but something closer to recalibration. People who had dismissed him are going back to 'By the Order of the City', the debut EP he released May 1, 2026, hearing it differently now that they have heard him sing directly. The performance did not introduce a new Siraheem. It created the conditions for people to actually hear the one that was already there.

This is what Glitch Africa does at its best. The platform strips the music back to its most honest form - no production armour, no engineered atmosphere, just the voice and the song. Asake's 'Baba God' session is the clearest precedent in recent memory - a live performance that revealed something about his vocal control and emotional range that the studio version had almost obscured. Siraheem's session is doing the same kind of work. The surprise in the comment sections is not that he has suddenly become something he wasn't. It is that the version of him that already existed has finally been seen.

‍'Soweto' live is a different thing entirely. The line that opens the EP - "me I'm not from ghetto but na me dey run your ghetto" - lands harder without the beat carrying it. 'Iseoluwa' is the track that does the most work live. The vocal control exists on the studio version but stripped of production it becomes harder to argue with - you hear it differently when there is nothing else to credit. 'Kowope' and 'Brazil Bounce' confirmed that the range across the EP was not a producer's doing. He moves between sounds and stays himself throughout.

The people who decided Siraheem should not be making music have too much invested in that conclusion to let a Glitch Africa session change it entirely. The noise around this man is considerable and it does not dissolve overnight. What the performance did is something more specific - it gave the people who were willing to listen a reason to do so, and it is sending them back to the EP with ears that are no longer filtered through the label that preceded him.

IG: @sophiannadozie

At the shrill sound of the final whistle of Nigeria's Round of 16 match against Germany at the 2019 Women's World Cup in France, the Super Falcons suffered a harrowing 3-0 defeat. Yet, Rasheedat Ajibade was left with one feeling. "I was happy," she says gleefully. "We lost but I was so proud of the fact that I was able to step up to the occasion with so much flair, composure, and confidence."

Unbeknownst to the then eager 19-year-old making her global debut on the senior team, these would be some of the character traits that'll mark her captaincy once inheriting the armband only a few years down the line. In that moment in France, however, it felt like a culmination of all the years of hard work.

Ajibade was born in Mushin, Lagos, to a large family of four sisters and a brother. Though financial hardship shaped most of her early life, football offered her a sense of purpose. "Coming from a low income background, I saw my mom do a lot just to ensure that she puts food on our table," she explains. "I just kept promising myself that one day, I'm going to help her out of that situation." In 2013, she joined FC Robo Queens in the Nigeria Women's Premier League, and by 2017 was already one of the country's most exciting young talents.

The years that followed took her from domestic standout to continental fixture — a move to Atlético Madrid (and eventually Paris Saint-Germain), a growing presence for the Super Falcons at successive WAFCON tournaments, and eventually, the armband itself. It was while wearing that armband that she led Nigeria to a 10th WAFCON title (the most of any team on the continent) last July and was named Player of the Tournament for her efforts.

As we speak over Zoom, she does so from Morocco, the host country where the Super Falcons hope to defend their title and extend their streak with an 11th tournament win at WAFCON 2026. It's the day following their 2-1 victory in the warm-up game against the Twiga Stars of Tanzania, and Ajibade's famed composure and confidence remain palpable. "There's no pressure honestly," she says calmly, with an air of certainty. "When you want to protect and defend something, it takes a lot of effort and intentionality so everyone is locked in and focused for the next couple of weeks. We're just going to take it one game at a time and be present in the moment."

By every measure, the Super Falcons are the most decorated and dominant national football team on the continent, with the Egyptian men's team trailing slightly behind. In the tournament's 13-year history, the only nations that have been able to break Nigeria’s stronghold are Equatorial Guinea (2008 and 2012) and South Africa (2022). It goes without saying that with the weight of such a feat comes with an equally immense amount of expectation especially as a WAFCON victory doubles a qualifier for FIFA’s Women’s World Cup in Brazil next year. Ajibade acknowledges this expectation, and almost welcomes it. "We're a team that everyone is looking forward to winning against. We know what our goal is, and that is to keep setting the standard.” 

The plan for managing the expectations and heading down the road to the 11th win clear-eyed seems simple enough for Ajibade. The first thing is breaking free from external noise. “Sometimes that can come from the camp or even administrators of the games,” she says. “I just put everything in God’s hands. Prayer and the word of God keep me grounded. I also don’t use social media much.” The second is leaning on her teammates. “I confide in them. We’ve been here before so no stress,” she notes. When I ask about her individual goals at the tournament as captain and the last Player of The Tournament title holder she points back to the power of the collective vs that of the individual. “I carry the armband. But the team carries a trophy,” she notes. “Of course getting Player of the Tournament is nice. But for me, I always think about carrying the team first. Every time I step on that pitch, what’s on my mind is ‘how can I either support my teammates better? How can we all work together to be better.’ Even after every game, I'm thinking about what we can do to be better for the next game even if we win or not”.

That same collective mentality is what Ajibade believes will finally close the gap between continental dominance and global relevance. Nigeria's stronghold over Africa has never fully translated on the sport's biggest stage. The quarter-final finish back in 1999 remains the Super Falcons' best showing at the Women's World Cup. For Ajibade and this generation of Falcons, winning at WAFCON is far from the end goal. “Being the most decorated team in Africa gives us a sense of pride but we also want to set the global standard [in women’s football] Our biggest goal is to win the World and we know it’s doable,” she says with the same unwavering confidence. With Brazil 2027 already cutting close and their statistical position as favourites to win WAFCON 2026, that ambition might not be abstract for much longer. All that’s left is employing Ajibade’s philosophy of letting it all play out one game at a time.

Miss Universe Kenya 2026 concluded in Nairobi on Saturday night, with Jean Ojiro crowned the country's newest titleholder and set to represent Kenya at the international Miss Universe competition. Ojiro emerged victorious following the national finale, with Mercy Awuonda named first runner-up and Myra Mburu taking second runner-up. Organizers confirmed that no special awards were presented during this year's competition, choosing instead to focus on selecting Kenya's representative for the global stage.

As Kenya's official preliminary to the Miss Universe competition, Miss Universe Kenya is part of the wider international pageant system that sees countries across the world – including Uganda, Nigeria, South Africa, the Philippines and India – crown delegates to compete for the Miss Universe title. Beyond the competition itself, the pageant has increasingly positioned itself as a platform for leadership, advocacy and cultural representation.

According to Kevin Bellwood, National Director of Miss Universe Kenya under Crown Culture Africa, Ojiro distinguished herself through her consistency, authenticity and sense of purpose throughout the competition. "...From the preliminary stages to the final night, she demonstrated strong communication skills, confidence under pressure, and a grounded sense of identity," Bellwood told Deeds Magazine. "What truly set her apart was not just her stage presence, but her ability to connect her personal story with a broader vision of service and impact."

Ojiro now joins a growing list of women who have represented Kenya on the Miss Universe stage, taking on the responsibility of showcasing the country's culture, talent and values before a global audience.

In recent years, international pageantry has continued to evolve beyond traditional beauty contests, placing greater emphasis on advocacy, public speaking and social impact. Bellwood said this year's winner reflects the direction Miss Universe Kenya hopes to continue championing.

"Ojiro's win reflects the modern direction of Miss Universe Kenya, which places equal emphasis on intelligence, advocacy, leadership, and cultural representation alongside beauty," he said. "She embodies the shift toward empowered women who are not only visible on stage but also active in their communities."

The organization also views the competition as an important contributor to Kenya's wider creative economy. By bringing together designers, stylists, photographers, makeup artists and other industry professionals, the pageant provides a national platform that extends beyond the contestants themselves while helping elevate Kenyan fashion and beauty on an international stage.

As part of her reign, Ojiro will undergo months of preparation before departing for the international Miss Universe competition in Puerto Rico, later this year in November. Her training will include public speaking, media preparation, advocacy development and cultural presentation, with Crown Culture Africa providing mentorship and support throughout her journey to the international competition.

IG:@_stanleykilonzo

COVER IMAGE CREDIT: Miss Universe KE Courtesy of Kevin Bellwood

LADIPOE has been making the case for technical rap in Nigerian music for over a decade - patiently, consistently, and without compromising the craft that defines him. Born Ladipo Eso, he studied Biology and Chemistry at the University of North Carolina before returning to Lagos to pursue music, a decision that surprised people then and continues to inform his work now. His debut album T.A.P (Talk About Poe) established him as one of the most lyrically rigorous voices in Afrobeats' ecosystem. Revival, his sophomore project, deepens that argument - a Pan-African record that pulls collaborators from Nigeria, South Africa, the UK and the US, and opens with a voice note from his mother. We spoke about craft, conviction, and what it actually takes to lead a revival.

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

 I'm Ladipoe, the leader of the revival, and I write lifelines.

You studied Biology and Chemistry in the United States before coming back to Nigeria to rap. What was that decision like choosing art over what most people would consider the safer path?

It wasn't a single decision.  It's something that happened over time. You know, I got my degree.  I also went and got a job and eventually I did come back to Nigeria and also got a job here too.  So I was doing that while also pursuing musical aspirations.  And over time, you know I went back to school again, came back, and I eventually made the choice to choose one over the other. But pretty much all the while I was pursuing music, I was working. When I decided to choose between the two was when I got signed, because I now felt at this point in time, I had to do it professionally. I had to do it just only music if I wanted to, like, take advantage of being a side artist. That's the first time I made that decision where it was only music that I was doing, so it wasn't a quick decision. It's just that my creative life started to become the main part of my life over time.

You call yourself the “Leader of the Revival.” That’s a bold claim in a landscape where Nigerian hip-hop still struggles for the mainstream attention Afrobeats gets automatically. What are you actually reviving and who are you reviving it for?

 I think my revival is not about the genres, not even about the music. It's itself. It's about self. It's about identity. It's about who you are as a person and who you need to become to do the things in life that you are meant to do. And for me, I'm in music, so it's more about self, not about hip hop, not about Afrobeats, not about Nigerian music per se. It's about the person.

You are one of the most technically gifted rappers in Nigerian music, operating in a space that consistently rewards melody and hooks over bars. How do you navigate that tension without compromising what makes you distinctly you?

It's because believing that the value of this thing is not based on its popularity, maybe that's not the accurate thing to say. Think of what I want to say. I think that people ask this question that you're asking because, you know, they feel like there's some kind of competition because people like that, you know, you can only choose one. Because people like…What did you say?  Melody and what was it?

Hook over Bars.

Melodies and hooks over bars. Maybe people ask this question because they feel like if people like that, it means they don't like bars, you know, or lyrics. And by bars, what they are just talking about is like lyrics and things that have meaning, punchlines and stuff like that and wordplay. But I think because I don't see it in black and white, I feel like this is an audience that likes many, many things. And they have wild taste and they're really smart, you know, and there's people who are seeking things, that want things just like me. And when you really think about it, because I feel like I like what I like and I'm probably not the only one. I'm not the only one just like me who likes these things, because I really believe that.  That's why I know that it's. That's how I navigate it.  Because I know that there's other people that like this stuff out there in the world. Sophia there’s almost 300 million people in Nigeria. If a lot of them like hooks and choruses, melody, there's still how many millions that would like, you know what else is out there? At the end of the day, we are not eating rice every day?  You know, everybody likes different things.

‍Revival has a Pan-African outlook - collaborations spanning Nigeria, South Africa, the UK and the US. How intentional was it to make the album feel like an African conversation rather than just a Nigerian one?

You know, it was, I'd say it was intentional. It was mainly organic. It really happened organically.  And I think the reason why it has a Pan African feel is because that's the nature of my life and my career.  Music has kind of taken me beyond the shores of my country and as a result, I'm meeting people from different spaces now and just reflecting on my music.  So it was kind of.  It was organic, but at the same time, even me, I only realized it maybe like a few months before we dropped the album, like everybody's from different places, you know.  But yeah, I think it's more of a true reflection of where my music is at and where it has taken me as opposed to. Hey, man, I had to make sure that they know that it's Pan African.

But yeah, this time was organic.

“Motho Waka” with Maglera Doe Boy stood out as a genuine cross-continental rap moment. What excites you about the growing connections between rap scenes across Africa?

You said, what excites me about growing. Right.  I think it's always been there. I actually think these connections have always been there.  Even before our own contemporary music industry, dating back to the artists that came before us.  I think they've always had these collaborations with their brothers and sisters in different African countries. And I think what excites me is that it's still alive.  If anything,  I don't just think it's growing. I think it's always been there and it's still alive. And I'm happy to contribute my own songs into these connections. Long established connections, you know, the relationship musically between Africa, I mean, Nigeria and South Africa is deep. Everybody knows this, you know, so this is me adding another one to it, you know. And between Nigeria and Ghana, everybody knows. I mean, I think what excites me is one, that they're still alive and two, there's more that we can bring in to make the show. Connecting now with new places, I think will be even more.  That'll be exciting to me.  Places that people are not used to seeing, you know?  Yeah, that could be interesting.

Actually I do like the song, it’s something I can hum anywhere..

It's such a groovy song. What I've noticed is that now that the album is out, you know, before people heard it as a single, but now they're hearing it inside the album with other tracks. And I think they're appreciating it even more because after many people, they don't even know when their waist is starting to move, when Motho Waka's bass line comes inside.

The opening track “Chosen” ends with a voice note from your mother. That’s a deeply personal creative decision. What made you include that moment on the album?

They found each other. I'd had this message, you know, like, I see people joking online.  Anybody that sends Ladipoe voice note is in trouble, they're going to be looking for their voice on the album. But It really isn't like that. And I know rappers have a reputation of doing that, you know, but for me, it was a message I'd always kept with me when. When she sent it, I had kept it with me because it felt important for my own spirit. And it just made sense for a song that talked about being chosen to let you know. Sophia, when you're making music, there's the music, there's the lyrics. I'm always seeking to find more ways to bring you into my world until there's layers to it.  So this message and voice from somebody else is another way of letting people understand how I know I'm chosen.  

Should I say it’s also a reminder?

Exactly.  And, you know, the biggest thing now is if, let's say you're listening to it and it makes you feel chosen, ah! Something powerful is really happening, you know, and I think that's really the biggest part of it. And the most amazing part of music is the fact that somebody can own this song in a way where they're not thinking about me, thinking about themselves.

‍Revival tackles fatherhood as one of its themes. How has becoming a father changed what you want to say with your music?

I mean, has it changed?  I don't think it's changed things. It added to it. It added more of a perspective of the world. To my music.  I just wasn't capable of seeing before, you know. I care about my son in a very specific way that I don't know if you can feel that way, unless you actually do have.  I'm sure there's ways you can feel something similar. It opens up a whole new way of thinking about the world and thinking about what is important in the world, you know?  So, yes.  It added to my music.

Actually I swapped this number eight question because I was very unsure.  I had to go back to the album's description.  Then I saw Father.  Of course, I was like, I don't want to pass wrong information.  So it was surprising to know that you are a father. 

I hear that a lot. But yeah, life happens, right?  Life is happening to people.  The songs that you like and, you know, between this article you write and the next article you write, stuff happens, right?  Yeah, you know, exactly.

African artists are reaching global audiences at an unprecedented rate. In your view, what does it truly take for an African rapper not an Afrobeats artist, a rapper to compete on the world stage while remaining authentic?

I think that now, you asked this question last time and I said all the things that it really does take. You need to have an unshakable vision. You need to have a team that sees that vision. You have to have a direction that you know you guys are going and alignments. All of those kind of things are true.  And.  But even before that, you need to have a mindset that has never asked this question that you're asking me.  Like, you should not need to ask yourself, what do I need to do?  How do I need to be?  To be global. You are that already.  All it's missing is maybe visibility by default.

You already have what it takes to be an artist. I mean, there's certain artists that I think cross the threshold of being gifted. And it's like, you already have what it takes to be on a global stage.  What you're missing is visibility. And I say that because before the thinking was, I can't even imagine how it would be if I knew so I was on the level of Drake or these things are like, because we couldn't when we're younger. We couldn't see how it was possible. That's a kind of thinking that doesn't even need to exist anymore. I guess what I'm trying to say is that I don't really think about the idea of being global. I think more of how far can I push my music? And I know that my music belongs in every room. Yeah, I know that. Like, I already know that. I already know I can walk into that room. I fit in those settings. I already know that. I don't think to myself, how do I need to balance authenticity? I already know. I came prepared for that. So it's like, the only way to do that is to know the music you make as an artist, keep making that music and pushing it as far as it can go. Period. There's nothing like going global. Like, you push as far as you can go.  When you're in that space, you'll know what to do. I don't know. I feel like I haven't answered it in a way that you can fully. I fully understand what I'm trying to say, but I just know that I don't ask myself this question.

Yeah, I do.  I do understand.  It's just more of how the audience will receive it.

Yes, exactly.  I don't exactly.  I don't know how we're gonna translate it in a way that they can get it, But I feel like for an artist to stay authentic and be global, they should not have to ask themselves, how do I go global?  They just need to be authentic and push it as far as they can go and connect the dots where they can.  If you know where you want to go, you're always aiming for that direction. 

But you don't have to change a single thing about yourself.  And when you ask yourself this question, it almost feels like you need to change something to balance.  No, no.  Just be you.  That music is what it is.

Like this popular saying, I am him.

Yes. It's now a matter of timing. And if you see Sophia, let's not take luck. Luck, but it's not just luck is just opportunity and timing. The opportunity came and we were ready.

How do they say this?  Preparedness?  Yeah, I think that is it.

Yes, yes, exactly.  That's it.  I think that's it. If you stay true to who you are, you will be prepared.  And also, you have to be caught doing in motion, caught doing something. I think the only thing an artist needs to do is to be themselves and be actively doing what it is you love to do the best.  So when the timing is right, you will be prepared to take advantage of it. That's your center.

As we wrap up -  what do you want people to understand about Revival that a first listen might not fully capture?

You have all it takes to lead your own revival.

IG: @sophiannadozie

Music that promises relaxation often risks slipping into background noise, but on her debut project Feels Like Home, Osé achieves something far rarer: a quiet, grounding presence that demands your full attention. Across the tracklist, her vocal execution feels like butter smooth, effortless, and radiating a calm, sultry confidence. It is a body of work infused with touches of jazz, R&B, and rich cultural rhythms, offering listeners an immediate sense of peace and an escape to a poolside sanctuary, complete with a glass of wine and room to breathe.

From the opening moments of "24HRS" , Osé sets a tranquil tone. The track serves as a vibrant oasis where ocean-like melodic waves drift seamlessly over a subtle jump beat. When she asks for more time with a lover, her delivery feels completely unforced less like a demand and more like an effortless, magnetic request. Throughout the project, a quiet confidence emerges as the primary common thread: an artistic energy that feels remarkably soft, yet strong at the exact same time. Even on "Bother Me" (featuring Victony), where the tempo shifts upward into a swaying, infectious rhythm, the production remains remarkably smooth and non-intrusive, bringing movement to the tracklist without disrupting the EP’s delicate equilibrium.

As the EP progresses, Osé uses her vocal control to explore emotional clarity. On “Cease and Desist “, her questioning of a partner avoids any sense of confrontation; supported by a warm tempo and a soothing melody, her inquiry sounds like a person who has already found peace with whatever answer comes next. This intentionality shines even brighter on "Gently", a standout track where she claims the space to be her full, vulnerable self. In an industry that often tries to box in Black female artists or confuse volume with strength, Osé’s power lies in her soft authority. Her songwriting feels poetic and deliberate, turning self-assurance into something sonically restorative.

That feeling of freedom reaches a cinematic peak on "RAMBO". Driven by warm, atmospheric drums, the track teleports the listener directly to a coastal sunset—a scene where different hues hit the water, glasses are raised, and the crowd moves in shared euphoria.

By the time the project closes with "STUPID!" , the narrative arrives at a satisfying exhale. Rather than ending on bitterness or lingering regret, the song functions as a final release. Osé acknowledges past foolishness, comes to terms with the truth, and lets go with complete grace.
Feels Like Home leaves you with a lingering sense of calm a beautifully crafted body of work that proves peace can be the ultimate artistic statement.

The story of the two Benin brothers paving their own way into Parisian fashion

For a long time, Paris has been known as the capital city of fashion. Every season, every year, through carefully planned and scheduled fashion weeks, the most sought-after household names gather to showcase their newest collections to the fashion world. However, on the opposite side of the whole gist, glamour, and prestige, there lies a suburb Afro-diasporic community gradually bubbling to the surface and weaving its own fashion identity. They, too, show up to culturally relevant events, often scattered across the Parisian streets to showcase their elegant designs and immaculate style. It is in the midst of this cross-cultural gathering that young locals found their own labels, driven by a strong passion to express their creativity through clothing.

Abela, a fashion brand by two Benin brothers, Ousba and Oluwafèmi, is the newest exception to the rule, building a lasting impact. In their latest campaign “Diary of a Summer vol. 1,” customers are invited not only to purchase from their collection but also to engage with their stylistic universe. The result? Abela doesn’t just sell mere garments; it is wrapped in a colouring book where the public becomes a part of the storytelling, and for those who were in search of a Parisian brand for all, they may now belong.
Deeds Magazine sat down with Abela’s founders to discuss their journey thus far and plans for the near future.

Growing up in the suburbs of Cergy (95th district), the brothers Ousba (25) and Fèmi (30) of Nigerian and Benin descent seemingly had the whole world before them. While style was somewhat important, football was king, as the PSG kit became a recognizable attire during their youth. “We were the only ones with those backgrounds,” commented Ousba when asked about the dominance of Francophone African migrants in neighbourhoods like theirs. As siblings 5 years apart, this meant their shared goals required patience before they would eventually intertwine. “Every time I went outside, I had to bring my brother with me. We got closer later in life,” said Fèmi when describing their relationship back then.

Like many other children of African descent, even while residing in the Occident, certain ideals by their parents still applied. Both first ventured into separate studies. “Fashion wasn't a choice; our father was against the Arts,” explained Fèmi about the decision to pursue business despite a growing interest in fashion. “It had to be something like science, law, or accounting,” added Ousba. “He was afraid we wouldn’t make a lot of money. We did everything they said we should, so they let us start Abela,” Fèmi described the long journey toward their own brand.

In an intricate personal ritual, fashion still found its way into their lives, mainly through their mother and her business ventures. “My mother used to have a thrift shop in Benin; we were heavily influenced by the diverse culture,” said Fèmi when reminiscing about his earliest memories of clothes. During their long visits every two years, the brothers absorbed not only their mother’s thrift store but also the markets surrounding them. What stuck out most were the bootleg sections, reinterpreting football teams in African attire. Although restricted, the brothers were still raised by their parents to be individual thinkers. “Our parents always encouraged us to be different from everyone,” explained Fémi.

In an oversaturated market where fashion brands seemingly pop out every other week, an eye for detail becomes crucial, and the need for purpose and essence. The brothers seem to have perfected it from the get-go. Abela is a word that translates to candle in Yoruba, a nod to their cultural background. “The name came about in 3 different ideas; the candle reflects our life cycle, depending on the brightness of the flame, it represents whether everything is good or bad. Lastly, if you were to compare a candle to a human being, we are all made of different designs, different colours, and scent,” elaborated Ousba on the reasoning for selecting this particular brand name.

Even at community gatherings, every angle is well thought out. “During a pop-up, we used omoba imagery, the king's child. Also, the music being played was West African. We had objects with Adinkra, a symbol used in West Africa. Most things that we do are to preserve our roots,” explained Fèmi. On the exact usage of symbols, Ousba clarified, “The changing room had wood with Adinkra symbols during the pop-up. To understand where we come from, but also show our background smoothly. I want my people to understand how rich our culture is.”

For the brothers, the clothes must speak just as much as their setting, from the selected models to the campaign itself. They draw inspiration from old MTV video clips they would watch as children.“Abela is like a big playground, showing grown men can be happy and enjoy themselves,” said Ousba when describing the visual language of the brand. The characters that embody their clothes play into the world they created. “It's a feeling; the energy they transmit matches the brand,” said Fèmi when asked how they went about selecting the right models. “People that look like us,” emphasized Ousba.

In its minimalistic approach, Abela manages to capture the eye through an understanding of layers and how to attach them with depth. “The clothes that we create are a reflection of the way we dress, and we never dress loud. No big logos, no monographs. The shape, the way the clothes fall on people- that's what stands out for us most,” said Fèmi.

Perhaps a surprising revelation was their take on streetwear. Often perceived in a negative connotation due to its basic appeal, Ousba made sure to distance itself from the coined label, “We don’t call ourselves streetwear, but rather hybrid, because we fall somewhere between streetwear and high fashion.”.”

For future endeavours, the brothers remain hopeful. “Paris for the Parisian, Paris for France, Paris for the world.” said Ousba when asked about what he envisions for Abela. “To show every young child of the diaspora, you can do whatever you want,” added Fèmi. Perhaps the burning candle Abela symbolizes also represents a glimmer of light for Paris’ suburban young community, filled with promising children just like Ousba and Fèmi once were, imbued with the possibility of the brightest of futures. 

Spotify brought its immersive Greasy Tunes experience to Nairobi, marking the Kenyan capital as the latest city to host the platform's community-driven cultural activation. Running from July 15 to July 26 at Heltz House, the 12-day residency transformed the venue into a gathering place where music, food, fashion, comedy and conversation converged, reflecting the vibrant creative energy that continues to define Nairobi.

Originally launched in Johannesburg before making its way to Lagos, Greasy Tunes is inspired by the idea of the neighborhood "greasy spoon" café – a familiar space where people naturally gather over good food and conversation. Rather than centering solely on live performances, Spotify has reimagined the concept for Nairobi by creating an environment that mirrors how young Kenyans experience culture: fluidly moving between music, storytelling, fashion, food and digital communities.

According to Spotify, listeners between the ages of 18 and 24 account for more than half of all streams in Nairobi, with listening habits peaking during the evening hours. Those insights helped shape the residency, which offered visitors a packed calendar of events spanning multiple creative disciplines instead of traditional concerts alone.

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The program featured collaborations with some of Nairobi's most recognizable creative communities, including The BAG, Studio 18, Ongeza Volume, Strictly Soul, The Standup Collective, The Fisherman's Experience, Culture Club Podcast and 30 Percent Podcast. Each partnership brought a different perspective to the residency, highlighting the diversity of Kenya's contemporary creative landscape.

Among the standout moments were a Karibu Night inspired by Spotify's Made In Kenya playlist, live performances from Buruklyn Boyz, conversations led by producer Eric Musyoka, Larry Madowo and more, a women-in-music workshop designed to spotlight female voices in the industry, comedy showcases, fan experiences with Nyashinski and a closing celebration hosted by Strictly Soul.

Food also played an important role throughout the activation. Working alongside local culinary partners, Spotify incorporated Kenyan-inspired menus and communal dining experiences that reinforced Greasy Tunes' central idea: that music often serves as the soundtrack to everyday moments shared around the table.

The Nairobi edition reflects Spotify's growing investment in connecting with audiences beyond the streaming platform. Rather than focusing exclusively on playlists and algorithms, Greasy Tunes creates opportunities for listeners to experience music in physical spaces where creativity extends into conversations, fashion, food and community-building.

For Nairobi, the activation also serves as another acknowledgment of the city's growing influence within Africa's creative economy. Over the past few years, Nairobi has become an increasingly important destination for artists, creators and brands seeking to engage with East Africa's youthful and culturally engaged audiences. By choosing the city for the latest edition of Greasy Tunes, Spotify joins a growing list of global companies recognizing Nairobi as a hub where music and culture continue to shape one another.

While the residency has now concluded, Greasy Tunes leaves behind more than memories of performances and events. It reinforces the idea that streaming platforms can play a role beyond digital listening, creating real-world spaces where communities connect, collaborate and celebrate the cultures that inspire the music they hear every day.

Marvel announced a new Black Panther this week and the internet was genuinely happy about it - which, for Marvel news in 2026, is not something to take for granted. The week had more going on. Here is what else deserved attention.

Black Panther 3 Is Happening. David Jonsson Is the New T'Challa.

Marvel Studios announced Black Panther 3 at San Diego Comic-Con yesterday, and it lands with the weight of something the franchise has been building toward since 2022. David Jonsson - British actor, Alien: Romulus star - will play T'Challa II, the adult version of T'Challa and Nakia's son introduced at the end of Wakanda Forever. Ryan Coogler returns to direct, completing the trilogy he began in 2018. Letitia Wright and Winston Duke are back. Denzel Washington joins the MCU, though his role hasn't been disclosed. The film shoots in 70mm and arrives December 15, 2028. Jonsson took the stage, held his hand to his chest, and said: "Thank you to this amazing family that I have the honour and privilege and the blessing to join." The crowd chanted Wakanda Forever. Some things are still earned.

ASAP Rocky Has Been the Right Fit for Fenty Skin Since 2020

This is not the first time ASAP Rocky has fronted a Fenty Skin campaign, and at this point it should be clear that his presence has nothing to do with proximity to Rihanna. Rocky is one of the most aesthetically considered men in music - a man who wears Saint Laurent suits and Chanel trench coats as a working uniform, who has been talking about skincare and grooming as part of his personal identity long before it became a brand deal. Fenty Skin did not cast a celebrity partner. It cast someone who already lives inside the brand's argument. The new "DON'T BE DUMB, USE FENTY SKIN" campaign - Rocky as a door-to-door salesman, Chanel trench coat lined with product, trying to sell Rihanna her own skincare - is the most on-brand thing either of them has done last week.

Kim Kardashian Didn't Pass the Bar. She Raised It.

Kim Kardashian became co-founder of caffeine-free energy drink UPDATE in February, and this week the brand launched its first major campaign - a satirical press conference where Kardashian stands in a glass box installed in a gallery like a piece of art while attorney Gloria Allred asks: "Did she even ever pass the bar?" The music stops. Kardashian looks directly at the camera and says: "No, I didn't pass the bar. I raised it." It is self-aware, polished, and the kind of quotable moment that social media amplifies without requiring additional media spend. UPDATE uses paraxanthine rather than caffeine - the compound the body naturally forms from caffeine and is now in over 4,000 Walmart stores. Whatever you think of Kardashian, the campaign line is genuinely good.

WAFCON 2026 Starts 26th July. Nigeria Are Defending Champions.

The 2026 Women's Africa Cup of Nations kicks off 26th July in Morocco - the biggest edition of the tournament yet, with 16 teams competing for the first time. The tournament runs until August 16 and doubles as a qualifier for the 2027 Women's World Cup in Brazil, with all four semi-finalists earning automatic spots. Nigeria's Super Falcons arrive as defending champions, holders of a record-extending tenth WAFCON title, with their first match against Malawi on July 28. Chiamaka Nnadozie has been named Africa's best goalkeeper for three consecutive years. Rasheedat Ajibade was named most valuable player at last year's finals. 

Teni's Wellness Package Is More Than an EP.

‍Teni released The Wellness Package on July 24 - a six-track EP featuring Olamide on "Zion," Chike on "Wuru Maya," and The Cavemen on "Wise." The project marks the beginning of her partnership with Gamma, Larry Jackson's global media company. What makes the rollout worth noting is that Teni has extended the project beyond music - a Run Club promoting movement and community, a treasure hunt with exclusive wellness boxes hidden across locations including a Unilag activation, and intimate listening sessions designed to bring fans into her world. "It is just how I was feeling," she said of the project. "It was a new year. I was feeling the energy. You can pause but never stop." The EP is one thing. The world she is building around it is the more interesting conversation.

IG:@sophiannadozie

Releasing her highly anticipated sophomore album, Tyla’s A*Pop arrives with a clear mission to push her sound further into the global pop arena without letting go of the South African rhythms that made her one of music's most exciting new stars. The result is what she's time and again dubbed as Popiano – a sleek blend of contemporary Pop with the unmistakable bounce of Amapiano.

At 14 tracks long, the record is undeniably her most pop-forward release yet. Songs like ‘Double Blind’ and ‘That Girl’ are built with global radio in mind, embracing the glossy songwriting and infectious hooks that Western labels often seek from artists crossing into mainstream markets. But Tyla never strips away the identity that got her there. Beneath the shimmering production lie the familiar log drums, rhythmic bounce, and vocal flourishes that make her music unmistakably from the continent. Even something as subtle as the ad-libs that close out ‘Kiss’ serves as a reminder to listeners of where her sound was born.

Elsewhere, collaborations with Mawhoo on "Crazy of Me" and the nostalgic pairing with Liquideep on "Fairytale," inject the album with warmth and authenticity, balancing its commercial ambitions with distinctly African musical textures.

Perhaps A*Pop's greatest strength is its versatility. The two-time Grammy winner effortlessly shifts between flirtatious, groove-driven anthems made for packed dance floors and softer, synth-drenched ballads that reveal a more vulnerable side. It's a satisfying mix of music to dip low to in the club and songs to sit with long after the night ends.

Yet, despite its strengths, A*Pop never quite reaches the creative highs of Tyla's self-titled debut. Even with already-proven standouts like ‘Chanel’ and 'She Did It Again’ featuring Zara Larsson, and stunning visuals from other singles, the album feels more refined than revelatory leaning a little too comfortably into familiar pop formulas, making the project feel safer than its ambitions suggest. Where her debut thrived on the excitement of introducing a fresh voice and sound, this follow-up misses that.

Still, that's hardly a criticism severe enough to overshadow what Tyla accomplishes here. A*Pop feels less like a reinvention and more like a confident expansion of her musical universe. It's the kind of album that will resonate most with listeners who've already squeezed every last replay out of her earlier discography and are ready to hear where Popiano goes next.

Nippa’s music has always been rooted in authenticity, but his latest chapter marks a powerful evolution—one that has seen him go deep into himself and open up more. His latest release, “Homegrown,” is an indicator of this chapter in his musical journey.

Joining forces with friend and US Rapper Blxst, it's more than a song for the Tottenham rapper; it is a celebration and celebration of his family as well as an anthem for his day-ones and supporters who have been alongside him for the journey.

As he gets ready to embark on a new chapter in his career, he opens up about the making of his new project, how family and community have shaped his journey, and why coming full circle means more than just success—it’s about redefining what it means to represent where you’re from.

I know, obviously, you just put out the single with Blxst. How did that collaboration come about?

Blxst and I have been tapped in from the start of my career. I supported him in 2021 when my single “Situation” came out. He just showed me love and put me on the stage, so we've been tapped in since then. We actually made Homegrown in LA. I needed help on the hook, so I called Blxst to come and help me, but by the time he came here, I'd already got a hook. He told me that he loves the song and he’d love to jump on the second verse. I think it made sense for the message. It's about family, coming from nothing, sticking with your day ones, all things that sit in my moral compass. Blxst has been there since day one with me, so I thought, why not? It just makes sense for him to be on a song that's about being with your day ones.

Even in terms of, like, I know you guys did the video, and just, you know, having that sort of link and that collaboration already having. Relationship. How did you feel like working with him?

For me, it was a full-circle moment. It's been good to see Blxst's journey. I've been seeing it from before I even knew him; he's inspired a lot of my sound choices. So, it good to work with him. As I said, we've known each other for a while, so it was seamless, man. The video was seamless; it was just fun, man. You know, he knows my people. It was kind of like a family barbecue

In terms of the specific inspiration of the song and how you made it, where did that come from?

I actually had heard the beat sometime last year, and I just felt that the beat was just so spiritual. I knew from the moment that it had to be about family, my mum, my grandma, my sister, and I just felt that it had to feel like a spiritual hug. But I just couldn't get it. I couldn't get it for so long. I just kept on making a lot of rubbish songs on the beat. And then one day I was chilling with Sam, I gave him a melody and we finally got somewhere. We were going back and forth on the writing and didn't really get anywhere. I went to Camper's Studio, and I just started spitting the flows out, and we had the whole song done that day. I called Blxst to come help with the hook, but before he'd even come, I'd already spat it all out.

It's a big moment, and even just in terms of it being the song for Tottenham Hotspur and that whole situation. And so even in terms of like what you said about, you know, it is representing like where you're from and like, you know, your family and everything like that, like, how does that feel like in terms of even being a part of such a big moment?

So, I've got a love-hate relationship with my hood. It’s a proper full circle moment to see myself as the face of the soundtrack for Tottenham Hotspurs. Being from Tottenham, knowing that I've strived, suffered, cried, been happy, all in this area, and now I've got the main football team of this area behind me and representing me. It's definitely inspirational to see how far I've come. I also feel a responsibility to show the next generation of kids in Tottenham that we can do it without doing what they expect us to. We’re more than what they  label us as, we're more than just the statistics. I'm happy, it’s definitely a full-circle moment.

‍Getting to this point in your career, and being on this journey how key that's been for you in getting to this point, like, your support of your family, and all of that?

100% man, it's super important. I'd say it's the most important thing, especially for this next chapter. I wanted to take a deep dive into myself and who I am.  All my friends around me I've known for 24-plus years. My family know me, everyone around me knows the true, authentic version of me and I take pride in that. Having them around me keeps me grounded, keeps me from losing myself, and keeps me true to who I am.

What does this moment feel like in terms of where you are in your career and just the journey that you're on right now?

Right now, I try not to take in a lot of the distractions.  I kind of want to keep it on the work. For me, I'm just loading out new music. I try to stay in that creative mode, whether it's with my visuals or with my music itself. Of course, I'm happy that the love is getting there, but for me, it just shows me that it's time to show them what's next. I need to keep going and one-up myself in everything that I do.

You have new music that you're working on at the minute. This new era that you're in what can you tell us about where you are, and how do you think it's shifted from where you were like a year ago?

I think last year, I was in a place where I was finally comfortable talking about my love life and what's affecting me in terms of my relationship with women. This time, I feel like it's got a bit deeper, and it's not about one thing. It’s about what affects my life as a whole. Who is Nippa behind the mic, you know? What does Nippa stand for? Who does he hold dear to him? What's made Nippa who he is today? And I think that is the key thing in this project and this next era. I want to show the world who I am behind the mic, and what makes me, me. That's obviously my ends, my community, my family, my friends. It's just all the intricate stuff, and the things that people really don't talk about as much, innit.

Some collections tell a story. Others ask a question. Fruché’s Spring/Summer 2027 collection, KLEG, manages to do both, delivering one of the most thoughtful presentations to emerge from Berlin Fashion Week this July.

Named after the Nigerian Pidgin expression K-leg, a term that literally refers to knock knees but has evolved to describe something considered “not quite right” or flawed, creative director Frank Aghuno transforms an everyday expression rooted in ridicule into a meditation on body image, identity and self-acceptance. In an industry that continues to privilege symmetry, proportion and increasingly homogenized beauty standards, KLEG proposes a different visual language, one that treats difference as a point of departure instead of as something to be corrected.

Aghuno roots the SS27 collection in memory. Looking back on his school years, he revisits a time before appearance became something to negotiate, when school uniforms fostered belonging rather than comparison. That memory manifests through gingham, a textile synonymous with school uniforms across Nigeria, reimagined through handwoven Aso Oke and resist-dyed Adire.

It is one of the collection’s strongest ideas. Rather than reproducing school uniforms literally, Fruché elevates an everyday fabric through traditional Nigerian craftsmanship, allowing nostalgia to exist alongside technical innovation. The transformation feels organic and grounds the collection in both lived experience and sentimentality.

What distinguishes KLEG from many concept-driven collections is that the distortion never feels arbitrary. Fashion has increasingly relied on exaggerated proportions and asymmetry as visual shorthand for experimentation, often without a clear conceptual purpose. Here, every shifted seam, enlarged proportion and irregular silhouette directly reinforces the collection’s central argument. The garments respond to the body’s natural irregularities instead of attempting to discipline or disguise them. The asymmetrical tailoring, exaggerated proportions and deliberately distorted forms draw from physical features that society often encourages people to conceal, and that coherence gives the collection remarkable clarity. There is no disconnect between concept and execution.

It also offers a subtle critique of fashion itself. Despite ongoing conversations around inclusivity, much of the industry still operates according to ideals of correction. Fruché rejects that premise entirely. KLEG does not ask how clothing can improve the body, but instead questions why the body should require improvement at all.

The collection’s craftsmanship strengthens that argument. Aso Oke weaving, resist-dyed Adire, beadwork and traditional wood carving are integrated into the garments as structural elements. These techniques are not presented as heritage for heritage’s sake; they actively shape the silhouettes and reinforce the collection’s exploration of the body as both canvas and archive.

Equally compelling is the collaborative nature of the project. Artist Fredrick Aghuno, known professionally as Dricky Stickman, hand-painted diverse body forms across silk and Katsina-woven Funtua cotton, extending the collection’s conversation around representation through textile. Sculptors Emmanuel Opeyemi and Oluwalere Israel Adewale produced a hand-carved wooden bodice and sculptural headpieces that dissolved the boundary between fashion and contemporary art without feeling overly theatrical. Fola Olopade’s crochet work introduced softness and tactility, while emerging Nigerian label Dukun translated childhood paper hats into textile accessories that echoed the collection’s reflections on youth and memory. Footwear collaborations with sustainable leather brands Afora Official, Kiing Daviid and Renaissance by Janet reimagined the familiar Nigerian school shoe and beautifully reinforced the collection’s nostalgic foundation.

The breadth of these collaborations could easily have fragmented the collection. Instead, they demonstrate a clear creative direction. Each contributor expands the narrative rather than competing with it, resulting in a collection that feels cohesive despite its many points of reference.

What ultimately makes KLEG so successful is its refusal to separate concept from construction. Too often, collections addressing identity or social issues rely on accompanying statements to explain their significance. Fruché allows the garments to carry the argument themselves. Every fabrication, silhouette and collaboration contributes to a singular narrative about memory, heritage and the politics of the body.

At a moment when fashion increasingly rewards spectacle and immediacy, KLEG offers something more enduring. It demonstrates that the most compelling collections are not necessarily those with the loudest concepts, but those where every design decision serves the same idea. Rather than presenting the body as something to refine, perfect or reshape, Fruché treats it as a living archive, marked by history, culture and experience. In doing so, KLEG becomes more than a collection about body image. It becomes a radical proposition for what fashion can look like when it stops trying to fix us.

“Oh Yeah?” is a Soft Confessional Arc of a Bisexual Narrator

After four years of absence, Steve Lacy finally returns with a new project titled ‘Oh yeah?,’ a slow ambient ballad exploring his colourful love journey thus far, or the lack of it, revealing the challenges of modern dating through a Black queer lens, specifically as a bisexual fellow. With guest appearances from SZA, Erykah Badu, and more, Steve introduces an intricate sonic dance accompanied by minimal instruments such as a classic guitar, drums, and airy vocals; an approach that has since become his signature sound.

Steve Thomas Lacy-Moya, better known to the world as African-American Steve Lacy, is a 28-year-old singer-songwriter and producer who began his music career with the alternative group The Internet while still in high school. Perhaps what is most interesting about him, aside from his collaborations with the likes of Kendrick Lamar, Tyler The Creator, and more, is that he recorded all his earliest songs with an iPhone. His 2022 project ‘Gemini Rights’ earned him multiple groundbreaking awards, while he currently has almost 30 million monthly listeners on Spotify. Thus, Steve Lacy has become one of the most sought-after voices of his generation.

Steve’s first single ‘The Feeling’ set up the tone for the rest of the project to follow. From the first listen alone, it appears as if Steve is going through the ember stage of heartbreak, but as one pays closer attention, the song can be interpreted as the painful grieving process of a one-sided love never explored, a common experience in the bisexual community. Its intimate, obsessive lyrics that seemingly address a male muse, from the verse, “When you start writing songs just to stop thinking about him,” coming at the final bridge, really gave us the first hint of a fluid turmoil Steve has been meaning to soft launch. Similarly, Steve chooses to start ‘Is It Cool?’ with the words “Never needed a man,” which really comes across when one goes through the lyrics word for word.

This jumpy, avoidant approach to same-sex attraction is nothing new, as in his 2022 song “Static,” Steve Lacy sings, “Looking for a b*tch because I’m over boys,” to a seemingly majorly hetero interaction with a woman of interest. It is that notion that bleeds throughout the project; Steve is not actively trying to hide his sexual identity through lyrics; he is trying to balance it, inside a universal language like music that offers little to no bisexual love narration.

Another standout track is ‘show you me,’ where Steve confronts his muse with the following line: “Are you even gay?” Steve showcases his longing for love at full display, whether with a man or woman, admitting to himself that the drive for this search is loneliness. A central theme to this project can be traced in the lyrics, “As of late, I guess I’ve been leaning closer to D.” It also becomes apparent that, whereas in the past, songs directed to his female muses were lived experience, his songs directed to men are a distant companionship, often with the male muses unaware that Steve has unresolved feelings with them.

In a track that reminds one of ‘Californication’ by Red Hot Chili Peppers, Steve Lacy really paints the modern dating scene well in ‘doom.’ In a time where sex is more accessible than ever, and social media encourages validation over authenticity, there is little room for genuine affection. However, Steve doesn’t run away from reality, also admitting that he’s been a willing participant in this ordeal. The nihilistic lyrics paired with the uplifting instrumental are the perfect recipe for disaster.

Perhaps one of the most underrated tracks from the project, which really encapsulates the longing of a bisexual individual, can be felt in ‘nothing.’ Accompanied by a solo guitar, the simple lyrics establish the intensity of Steve’s one-sided infatuation. There is a certain atmosphere of delusion coupled with obsession that perfectly captures the narrow lines of fluidity. Intimacy with one was accessible, yet on the other end, it is unattainable, often self-inflicted, a love he finds difficult to explore in the open.

Steve Lacy’s latest project, ‘Oh yeah?’ contains all of the complexities, delusions, obsessiveness, and overall confusing emotions surrounding queer fluidity in today’s dating climate. In its cover, where a circle in the colours of the bisexuality flag emphasizes Steve’s wondering gaze, it already foretold the loneliness and anguish that awaits. Steve Lacy is not just dealing with a longing for queer love; he is struggling to keep afloat in an environment where temporary satisfaction and distant glaze have replaced meaningful connection. This is Steve Lacy’s most vulnerable and honest piece of work yet.

If there was one thing that united pop culture fans this past week, it was the FIFA World Cup. Between the nail-biting knockout matches, endless debates online and Spain's historic triumph (¡Vamos, España!), it felt like the entire world was glued to football. I know I certainly was. But while the tournament deserved every bit of the attention it received, a handful of equally exciting moments quietly unfolded beyond the pitch. From Tyla sharing the stage with Shakira to Kenya landing the music industry's biggest power players, here are a few pop culture stories you may have missed in the World Cup frenzy.

Kenya Lands the Music Industry's Biggest Players

Kenya's music industry is entering a new era after President William Ruto announced that Sony Music, Universal Music Group and Warner Music Group will establish their first offices in Nairobi. The move positions Kenya as an emerging hub for music investment, talent development and international partnerships, while signaling growing confidence in the country's creative economy. For Kenyan artists and industry professionals, the arrival of the "Big Three" record labels could open new pathways to global markets without having to leave home. 

Kenya's President William Ruto with Phonographic Industry (IFPI) CEO Victoria Oakley and other officials | Credit: Afrika.World

The Children of Blood and Bone Hype Is Real

After years of anticipation, Children of Blood and Bone has finally offered fans their first proper look. Paramount unveiled the first new images from the film adaptation of Tomi Adeyemi's bestselling fantasy novel, showcasing a visually stunning world inspired by West African mythology. Led by South African actress Thuso Mbedu alongside a star-studded cast that includes Damson Idris, Amandla Stenberg, Viola Davis, Idris Elba, Chiwetel Ejiofor and Cynthia Erivo, the first look has already ignited excitement online, with many calling it one of the most anticipated fantasy films of 2027. 

Shakira & Tyla: A Full-Circle World Cup Moment

Just weeks after lighting up the FIFA World Cup final with their astonishing performances, Tyla made another career-defining appearance – this time alongside Shakira. The South African star joined the global icon on stage during the New York stop of Shakira's Las Mujeres Ya No Lloran World Tour for a performance of ‘Hips Don't Lie,’ a symbolic passing-of-the-torch moment between two generations of global pop stars. For Tyla, whose international rise continues to gather pace, sharing the stage with one of music's biggest names is yet another reminder that she's no longer just breaking through – she's arrived. 

Mbappé Makes History – and Lands EA Sports' Biggest Cover

Kylian Mbappé has added another milestone to an already extraordinary career. Following France's run at the 2026 FIFA World Cup, the 27-year-old became the tournament's all-time leading scorer with 22 World Cup goals, surpassing every player in history. As if that wasn't enough, EA Sports also unveiled Mbappé as the cover athlete for the EA Sports FC 27 Ultimate Edition, cementing his place as football's defining superstar of this generation. Between record books and video game covers, it's Mbappé's world right now.

Love Island's New Chapter: One Couple Ends, Another Star Levels Up

It's been a busy week in the Love Island USA universe. Season 7 fan favorites Nic Vansteenberghe and Olandria Carthen – better known to fans as "Nicolandria" – have reportedly called it quits after more than a year together, bringing one of the franchise's most beloved post-villa romances to an end. Meanwhile, Season 8 winner Trinity Tatum is already entering her next era, signing with talent agency WME just days after leaving the villa. The move positions her for opportunities in fashion, brand partnerships and entertainment, proving that while one Love Island chapter has closed, another is only just beginning.

For many independent African filmmakers, making a film is only half the battle. Getting it in front of audiences is often the greater challenge. Cinema screens remain limited in many parts of the continent, television acquisitions rarely favour independent creators, and streaming platforms commission only a fraction of the stories being produced each year.

That is why Meta's new Instagram for TV app, currently rolling out on select smart TV platforms in the United States, deserves attention beyond the tech industry. If the app eventually launches across African markets, it could offer filmmakers and visual creators another way to bring their work from the smartphone to the living room without relying entirely on traditional distributors.

Meta's latest television push inevitably invites comparisons with IGTV, the company's unsuccessful attempt to popularise long-form video in 2018. But the two products are fundamentally different. While IGTV asked users to change how they consumed content on their phones, Instagram for TV extends the platform onto one of the largest screens in the home. Rather than replacing mobile viewing, it complements it, reflecting a broader shift in how social media platforms are beginning to compete with traditional streaming services for viewers' attention and for African filmmakers, the significance lies less in the technology itself than in what it could represent; another distribution pathway in an industry where opportunities remain scarce.

Africa produces thousands of films every year, yet only a small percentage secure wide theatrical releases or licensing deals with major streaming platforms. Services such as Netflix, Prime Video and Showmax have undoubtedly expanded the global visibility of African storytelling, but commissioning opportunities remain limited and highly competitive. Many independent directors, documentary filmmakers and experimental storytellers continue to struggle to find sustainable ways to reach audiences.

Instagram for TV will not solve these structural challenges overnight. But it introduces the possibility of a creator-led distribution model, where filmmakers who have already built communities on Instagram can showcase longer-form visual work on a platform their audiences already use. Instead of depending solely on festivals, broadcasters or streaming executives, creators could have another avenue for sharing their work at scale.

The opportunity extends beyond traditional filmmaking. Across Nigeria, Kenya, Ghana, South Africa and other creative hubs, digital storytellers have spent years proving that compelling narratives can thrive on social media. Multi-part comedy series, relationship dramas, documentaries, travel films and culture-focused visual essays regularly attract millions of views online despite being designed primarily for mobile screens.

A television app could fundamentally change how this content is experienced. Rather than being consumed through quick scrolling on a five-inch display, stories could be watched on larger screens in living rooms, where families and friends often watch together. For creators whose work relies on detailed cinematography, thoughtful production design or immersive storytelling, that shift in viewing experience could be just as important as the platform itself.

The implications are equally significant for creators working outside traditional film. Documentary makers chronicling youth culture, travel creators showcasing destinations across the continent, fashion filmmakers capturing Africa's evolving style landscape and music video directors known for cinematic world-building all stand to benefit from a platform that gives visual storytelling more room to breathe.

If Meta hopes to build Instagram for TV into a truly global platform, Africa should not be treated as an afterthought. The continent is already home to creators redefining what digital filmmaking looks like with limited resources and remarkable creativity.

Nigeria's The Critics Company, for example, gained international recognition for producing ambitious science fiction short films using smartphones and modest budgets, demonstrating that compelling visual storytelling is not dependent on expensive equipment. Likewise, acclaimed music video director TG Omori has helped shape the visual identity of contemporary Afrobeats through bold cinematic storytelling that is designed to be appreciated on larger screens. Across East, West and Southern Africa, countless independent filmmakers, web-series creators and visual artists are already producing work that could thrive in a television-first social environment.

However, distribution alone is not enough. For Instagram for TV to become a meaningful platform for African filmmakers, Meta will eventually need to think beyond accessibility. Sustainable monetisation, meaningful creator support and investment in emerging markets will ultimately determine whether the platform becomes a viable ecosystem for storytelling or simply another place to upload content.

Instagram for TV is still in its early stages, and there is no confirmed timeline for a wider African rollout. Yet its arrival signals a broader shift in digital media. The line between social media and streaming continues to blur, creating new possibilities for how stories are distributed and consumed. For African filmmakers who have long built audiences one post at a time, the next stage of storytelling may not begin in a cinema or on a streaming platform. It could begin on the same app they already use every day – only this time, on the biggest screen in the house.

IG:@_stanleykilonzo

COVER IMAGE CREDIT: INSTAGRAM

The Adidas Superstar turns 56 this year. In that time, it has been worn by Run-DMC, adopted by skate culture, remixed by Pharrell, Kerwin Frost and Bad Bunny, and reissued in more colourways than anyone has properly counted. In all of that, no African skate community has ever designed one. On July 23, 2026, that changed. waf. (Wafflesncream) - the Lagos Island collective that has been building Nigeria's skate scene from the ground up for fourteen years  - becomes the first.

The collaboration is the Superstar ADV, Adidas Originals' skate-specific silhouette, and every design decision in it comes from one specific place. Not Lagos broadly. Lagos Island - the industrial waterfront, the sky that turns pink near the sea at certain hours, the heat that every skater on the island knows intimately. The upper is a dusty grey drawn from the island's landscape. The outsole is a translucent pink that references that particular sky. The side panels are breathable, built not for aesthetics but for the actual conditions the shoe will be skated in. "We didn't want to make a shoe that looked like Lagos," waf. co-founder Jomi Marcus-Bello said. "We wanted to make a shoe that felt like skating in Lagos - the heat, the texture, the light at certain times of day near the water."

The Superstar ADV is not a Lagos-themed shoe. It is a Lagos shoe - designed by people who have been skating these streets for over a decade, who built their headquarters, The Spot, on Lagos Island, and who have spent fourteen years creating a skate culture in Nigeria without institutional backing or global recognition. waf. started in 2011 as a skate crew founded by Jomi Marcus-Bello and KC Obijiaku. It grew into something larger - a creative collective spanning skateboarding, music, art, fashion and community, a place where artists, musicians and designers move alongside skaters, all of them connected by a shared relationship to Lagos Island.

The campaign reflects the same logic as the shoe. Shot entirely on Lagos Island, it features waf. community members - the skaters, the creatives, the people who actually built the scene - rather than imported faces or global ambassadors. "waf. didn't just design a shoe," said Estee Erasmus, Adidas Director of Category Management EM South. "They told a story about a place and a community that global skate culture has never properly seen."

The Adidas Superstar is one of the most collaborated-on shoes in sneaker history. The list of designers, artists and communities who have put their stamp on it spans decades and continents. Africa, despite producing some of the world's most compelling skate communities and creative collectives, has never been part of that conversation - until now. In more than fifty years of the Superstar, waf. is the first African skate community to hold the pen. The shoe is available for presale today, July 23, with a limited drop at Adidas Lekki, Lagos. The global release follows October 12, 2026.

IG: @sophiannadozie

Before Banggz became Banggz,the emerging  rapper/producer extraordinaire based in Canada’s capital city, Ottawa, he was Damilola Isa Salaudeen, a young boy raised in Lagos, Nigeria, with a persistent love of beats and bars. Through life’s challenges including immigration struggles and grief, his love of storytelling remained a constant way for him to get out of his head and uplift his community by telling their stories and speaking life into them. These sentiments inspired Banggz’s debut album, 4 THE BANGGERZ (2024), a project which proved his ability to craft infectious party starters including “OUTSIDE” and “WAKE UP”. “The whole idea [of 4 THE BANGGERZ] was escapism…making sure everyone was good, but I realized that I can't really do that if I don't help myself first,” he said. Followinghis debut came a few years of deep reflection amidst inner and outer turmoil, prompting him to write his new album, Love, Banggz, a coming-of-age story that plots a path between the formative stages of his life through love, loss and grief. “I wrote a love letter to my childhood self, he explained.” 

One of the main tenets of Love, Banggz is the inherent nostalgia that comes with the retelling of a life story. Many of the songs speak candidly about love, a theme which Banggz says is central to his identity, particularly on “Pretty & Gorgeous”, “Love Letters” and “Blackberry Luv”. On the album, he embraces everything that comes with it, including heartbreak, while acknowledging his own flaws. “It's really important for me to tell my younger self that I love him, and it's really important for me to give myself another chance at love romantically, friendship-wise, [and with my] faith.” To capture finding love in the early digital age, Banggz wrote “Blackberry Luv” with the help of past Ottawa resident and rising afro soul/jazz singer Anaïs Cardot. 

In this quest for love, Banggz is entirely inspired by his faith in Allah. After escaping insurgent violence in Jos, Nigeria, at the tender age of 3, he was changed forever, but it wasn’t until his faith was rekindled at the age of 25 that he fully surrendered to divine will. Since diving deeper into the Islamic faith he was born into, he’s found inner peace and defined his values, which he calls “unshakable”. Banggz has also been able to navigate loss and grief through his faith, especially through the loss of his grandmother 4 years ago, another prominent theme on the record, especially on the introspective first track, “Don’t Leave Me, Please”. As he makes peace with life’s curveballs, Banggz is no stranger to feelings of regret or failure, but he remains grateful for it all. “When you say failure, I immediately think gratitude…I feel blessed to have become the person that I am today.” 

To create his most authentic music yet, Banggz leaned on live instrumentation to capture the jazzy, R&B inflected hip-hop soundscape that most of the album lives in. As executive producer, he made sure the production reflected the realities of the songs, most of which were initially written as journal entries and poems. “If you write an album called Love, Banggz, you know, you better make sure that you know it's really 100% honest, and the best way for me to do that was to just make it myself.” A star instrument that he made sure to include was the talking drum, which is prominent in the Yoruba storytelling tradition. “I needed [the talking drums] to move around the album a bit, because I'm talking about my life story. I wanted the instrumental to talk in that sense too.” For features, he picked people who inspired him, including his good friends jev. and Anaïs Cardot, two Ottawa acts whose talents have gone global. To Banggz, jev. is the kind of rapper and friend who motivates him to see his own worth. “[jev.] trusts his taste so much, watching him really helped me, and listening to him helped me trust my own taste too.” On the previously released “JAM ME!,” jev. and Banggz combined forces to create a highly captivating track, perfect for the dance floor. Banggz’s best friend Anaïs Cardot also has a similar commitment to her own taste. “You’re almost scared when working in the studio [with her], and it's because her ear does not lie. If one note is off, she knows.” Both remain personal and professional sources of motivation for Banggz; their recent successes do not intimidate him. “I don't really see it as [an] ‘I wish it was me’ type of thing, because for me, it's even great. If I didn't have somebody to look to who's my peer, I think I'll be in a worse situation.” 

Speaking of Ottawa, Love, Banggz is also a love letter to Canada’s capital. Though Ottawa is often derided as a boring city with no entertainment offerings, artists like Banggz have bucked against those expectations. “Shout out to Ottawa, very underrated city… I love this place, man. The support is wild.” Though his sophomore project is less community-centric than his last, it still pays homage to his community, which has supported him unconditionally even when he finds it hard to ask for help. Part of Banggz’s offering to his community on this project is the phrase: “It’s your duty to learn how to enjoy yourself”, which is repeated on the second track, “Worldwide Banggerz!”. He believes that enjoyment is not just something you receive; it’s something you have to learn how to bring from within to those around you. To sum up his convictions, he says, “At the end of the day, the reason why I'm doing the things that I do, it's all gonna boil down to God, my guys, and love.” 

Banggz hopes that this new record causes listeners to feel and listen more to those around them. He recommends listening to it in totality, in order to grasp its full message. “This project is one of those ones that years from now people will look back, and then they keep hearing new things as you grow because I grew to make this album.” As he prepares for the release of the project and a potential tour, he is fully focused and excited for what’s to come.

We are already halfway through summer in the UK, with two heatwaves under our belt and performances from British Summer Time in Hyde Park, Piano People in the Park, Cross The Tracks and City Splash. However, we still have a month of summer left, and with exactly one month till All Points East is among us, the excitement and countdown begins with all the fantastic vibes still to come.

The lineup features Jorja Smith and Tems, who will be kicking off the festival this year. The double headliners have put together a lineup for R&B, Soul, and Afrobeats music lovers. We can already predict that the opening day of the festival is set to be one for the books and will be worth braving the dusty terrain of Victoria Park. Joining them will be the likes of KWN, Uncle Waffles, Elmiene, Odeal, Ayra Starr, Bellah, Nia Archives and more who are set to provide a great day of musical vibes.​

​Tyler, The Creator will also curate a two-day lineup across Friday the 28th and Saturday the 29th of August. With his extensive catalogue, he is sure to bring two distinctive sets that will have Victoria Park going off.

Joining him across the two nights will be Yebba, Dijon, Clipse, Khamari, Mariah The Scientist, Jim Legxacy, Ravine Lenae, Vince Staples, Natanya, Syd, SexxyRed and so much more.

​Before we call a wrap to the end of summer, there is still something to look forward to as All Points East promises another stellar lineup of music that will no doubt be a highlight of the festival season.  

Haute Couture Week has always been fashion's grandest stage. It’s where fantasy, craftsmanship and artistry collide in ways that ready-to-wear simply cannot. However, this season in Paris, the most memorable collections were not necessarily the loudest.

There were, of course, moments of spectacle: glowing latex gowns, sculptural silhouettes that defied gravity, and dramatic entrances worthy of couture's theatrical reputation. But beyond the visual extravagance, many designers returned entirely to craft. Hand embroidery, experimental textiles, centuries-old techniques and sculptural construction took precedence over gimmick, making this one of the strongest couture seasons in the past few years.

It also felt like a pivotal week for some of fashion's biggest houses. Jonathan Anderson continued defining a new era at Dior, Pierpaolo Piccioli made his highly anticipated couture debut at Balenciaga, while Daniel Roseberry once again proved why Schiaparelli is one of the most exciting maisons working today. Beyond the established names, Rahul Mishra continued making a compelling case for why couture's future is becoming increasingly global. If there was one takeaway from the week, it was that couture is no longer simply about excess. It is about execution.

Rahul Mishra delivered the week's strongest collection

Among an exceptionally strong schedule, Rahul Mishra's Devi: The Eternal Muse stood apart.

Inspired by India's ancient temple sculptures and the eternal feminine, the collection transformed couture into sculpture through thousands of hours of hand embroidery. Mishra built breathtaking garments through accumulation and layers upon layers of zardozi, dabka, crystals and bugle beads until the surfaces appeared carved.

What made the collection so successful was not just the level of craftsmanship, though that was extraordinary. It was the discipline behind it. Couture embroidery can easily become excessive, overwhelming the silhouette beneath. Mishra avoided that trap entirely. Every embellishment served the garment's structure, creating movement, depth and dimension without ever feeling ornamental for ornament's sake.

Collaborations with clay artisan Sumant Kumar, milliner Stephen Jones and Tanishq Natural Diamonds reinforced the collection's commitment to celebrating Indian craftsmanship across multiple disciplines.

Perhaps most importantly, Mishra continues to challenge traditional ideas of where couture excellence originates. He doesn’t position Indian craftsmanship as an influence on European couture, but places it at the very centre of the conversation. At a time when luxury fashion increasingly speaks about global craftsmanship, Mishra is one of the few designers genuinely redefining what the couture canon can look like.

Schiaparelli remains couture's greatest risk-taker

Daniel Roseberry has built Schiaparelli into one of Paris' most consistently fascinating houses because he refuses to think about clothing conventionally. His Autumn/Winter 2026 collection, The Call of the Void, emerged from a period of creative uncertainty, prompting Roseberry to abandon familiar techniques in favour of complete experimentation. Latex replaced silk, silicone became fabric, sculpted paint formed garments, while preserved flowers, shells and treated fish scales found unexpected new life through couture. The collection felt almost extraterrestrial. Models emerged like surreal sea creatures, glowing from within as sculptural silhouettes twisted and reshaped the human form.

What makes Roseberry's work compelling is that every season begins with a completely different question, continuously reinventing Schiaparelli's visual language.

That said, there were moments where the concept threatened to overshadow the clothes themselves. Certain looks functioned more successfully as sculptural objects than wearable couture. But perhaps that is precisely the point. Schiaparelli has never existed to produce conventional elegance. It exists to provoke curiosity.

Few designers working today embrace creative risk with this level of conviction.

Jonathan Anderson's Dior is beginning to find its rhythm

Jonathan Anderson's second couture collection for Dior felt considerably more assured than his first. Drawing inspiration from American sculptor Lynda Benglis, the collection translated sculptural form into clothing through elaborate draping, hand-plissé, metallic textiles and richly manipulated fabrics. Floral appliqués, sparkling tweeds and cascading fringe transformed the runway into something resembling a moving gallery exhibition.

Anderson also continued exploring Dior's relationship with global craftsmanship, incorporating eighteenth-century Indian chintz, floral references inspired by Gujarat and jewellery produced by artisans working between Jaipur and France.

The collection succeeded because it never became overwhelmed by its references. Benglis' work informed the clothes without becoming literal, while the textile experimentation felt genuinely integrated rather than academically researched.

Still, Anderson appears to be searching for Dior couture's emotional identity. The technical accomplishment is unquestionable, but there were moments where the intellectual framework felt stronger than the garments themselves. His ready-to-wear collections already possess remarkable confidence; couture may simply require more time before its emotional language becomes equally distinct.

Nevertheless, Dior continues moving in an exciting direction under his leadership.

Pierpaolo Piccioli brings romance back to Balenciaga

Few collections arrived with higher expectations than Pierpaolo Piccioli's couture debut at Balenciaga. Known for transforming Valentino through colour and emotion, Piccioli approached Cristóbal. Balenciaga's legacy without attempting to imitate either the founder or his immediate predecessor, Demna. Instead, he introduced warmth.

Electric pinks, luminous greens, saturated oranges and sweeping monochromatic tailoring softened Balenciaga's architectural precision without compromising its sculptural integrity. Hooded cloaks, dramatic feathered gowns, exaggerated hourglass silhouettes and fluid eveningwear demonstrated Piccioli's remarkable understanding of couture volume.

The collection also introduced notable technological innovations. Three-dimensional body scanning allowed the atelier to create entirely new mannequins for leather construction, while Amsilk, a bioengineered silk alternative developed through protein engineering, offered an intriguing glimpse into couture's evolving relationship with material science.

At times, those technological developments risked becoming a larger talking point than the clothes themselves. Fortunately, Piccioli's strongest looks required no explanation. Their beauty lay in proportion, movement and impeccable construction. His Balenciaga feels refreshingly sincere.

One of the most interesting threads connecting this couture week's collections was their relationship with materials. Roseberry experimented with silicone and latex. Anderson manipulated metallic textiles into sculptural forms. Piccioli introduced bioengineered silk alternatives. Rahul Mishra elevated centuries-old embroidery into architectural construction. Designers increasingly approached it as something capable of evolving through collaboration, technology and experimentation. It also reinforced an important distinction between haute couture and luxury ready-to-wear. Couture remains one of the few spaces within fashion where designers are still afforded the time, resources and atelier expertise to genuinely experiment.

If there was one critique of the season, it was that a handful of collections still equated complexity with impact. Couture can sometimes fall into the trap of demonstrating technical ability simply because it can, layering embellishment upon embellishment until craftsmanship begins to obscure silhouette.

However, these selected collections resisted that temptation. Rahul Mishra exercised remarkable restraint despite extraordinary embroidery. Dior allowed sculptural techniques to enhance rather than dominate the garments. Even Balenciaga, despite its dramatic palette, remained grounded in impeccable tailoring. Only Schiaparelli occasionally crossed into theatrical excess, though the house has arguably earned that creative freedom. Roseberry understands that couture should sometimes feel unsettling as much as beautiful.

Paris Haute Couture Week reminded us why couture continues to occupy such a unique place within fashion. Collectively, the week suggested that couture is entering a fascinating new chapter. Designers no longer seem interested in proving how extravagant they can be. Instead, they're asking a more compelling question: how can extraordinary craftsmanship make us look at clothing differently?

This season offered several convincing answers.

For 96 years, the FIFA World Cup final had no halftime show. On July 19, 2026, Madonna, BTS, Justin Bieber, Shakira, Burna Boy, the Muppets and a Venezuelan conductor fixed that - in 11 minutes, at MetLife Stadium in East Rutherford, New Jersey.

The first-ever FIFA World Cup Final Halftime Show, curated by Coldplay frontman Chris Martin, directed by Hamish Hamilton, and produced by FIFA and Global Citizen, was built to raise funds toward a $100 million target for the FIFA Global Citizen Education Fund  which aims to expand access to quality education and football for children worldwide.

‍Madonna opened the show the way she tends to open things - on her own terms. In a pre-recorded segment, she arrived through the stadium tunnels in a dune buggy driven by Brazilian legends Ronaldinho and Ronaldo, singing a reworked version of her 2000 hit “Music” fused with elements of "Disco Inferno" and "Danceteria," before appearing on the pitch to hand over to Venezuelan conductor Gustavo Dudamel. Dudamel, in a custom pinstripe suit with his name and the number "1" on the back, styled like a football jersey,led musicians from the New York Philharmonic and Venezuela's Simón Bolívar Symphony Orchestra through "Seven Nation Army," with The Muppets' Dr. Teeth and the Electric Mayhem alongside them.

‍BTS followed in matching red motorcycle-inspired looks, delivering a turbocharged performance of their hit 'Dynamite' with rewritten football-themed lyrics. Then Ted Lasso’sJason Sudeikis in character, alongside Brendan Hunt as Coach Beard, appeared on the field to introduce Justin Bieber, who took the volume down with a soulful, solo acoustic rendition of ”Everything Hallelujah” from his Swag II album, just him and a guitar on the world's biggest stage.

The show's peak came next when Shakira, in pink and yellow sparkles, took the field with Burna Boy and Uganda's Ghetto Kids for ”Dai Dai” - the official song of the 2026 FIFA World Cup, performed live for the second time this tournament after its debut at the Mexico City opening ceremony on June 11. For Burna Boy, the moment carried specific weight. "To represent Africa on the first-ever FIFA World Cup Final Halftime Show is a privilege and a responsibility that I don't take lightly," he said ahead of the performance.

Chris Martin himself closed the show alongside the PS22 Chorus - the viral New York elementary school choir - Kermit, Miss Piggy and the rest of the Muppets cast, the field filling into a giant "LOVE" tableau as fireworks went off overhead. The whole thing ran just a few seconds over the allotted 11 minutes, giving none of the headliners more than roughly two minutes on the field - and somehow still delivering one of the most talked-about halftime shows in recent memory.

As Billboard put it, the show was "slightly unhinged, deeply overstuffed and undeniably memorable." Ninety-six years was a long time to wait. The 11 minutes made it count.

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Before taking the stage at Tottenham Hotspur Stadium, opening for the phenomenal Bad Bunny, Puerto Rican group Chuwi entertained a sold-out crowd with their first-ever London headline show, presented by Hennessy. Bringing the essence and vibe of Puerto Rico to the London heatwave, the crowd embraced the energy from start to finish.

​The show took place at the peak of a heatwave and gave a strong Puerto Rican summer feel as the group took to NT’s Loft, playing to a sold-out crowd and entertaining the masses ahead of their opening slot on Bad Bunny’s DeBí TiRAR MáS FOToS world tour.

For the group, made up of siblings Lorén, Wester and Willy, alongside childhood friend Adrian Lopez, it was their first time playing in London. The energy they brought and received from the crowd was a real moment for them. The show lasted just over an hour, showcasing their musical style and Puerto Rican flavour to the London crowd.

Formed during COVID, they have released music since then, including several EPs and singles that have grown their fanbase and popularity over the years. A significant moment in their musical journey came with the inclusion of Bad Bunny’s 2025 DeBí TiRAR MáS FOToS, on which they featured on WELTiTA. Since then, they have garnered international attention. They joined him as part of his No Me Quiero Ir de Aquí residency and the subsequent world tour, which is currently underway.

Beyond Bad Bunny, they have won fans over with their indie-electric sound and a musicality that blends with the vocals of Loren, Willy and Wester. Earlier this year, they featured on Tiny Desk, a sneak peek of what they have to offer.

Now, with their headline show, the energy was amplified, and the whole room was singing along, making it feel more like a jam session than a show.

The setlist included tracks like Uwu, which they opened with, as well as Judy, Durmiendo, Mundi, Bipal Falta Algo and Tierra, before closing with WELTiTA. As an introduction to the group for a London crowd, there is no doubt that their energy has travelled well beyond Puerto Rico, representing their current impact and everything that has unfolded over the last year. As somebody who is a fan of music in general despite the language barrier, there is nothing that speaks greater than the feeling that music gives and how it moves, and the performance Chuwi gave was a strong representation of how that was brought to the UK.

​The sweltering heat and crowd energy were felt as you came up the stairs into the venue, and it was a memorable feeling from entering to leaving. As we continue to watch the group, we look forward to their next show.