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

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

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

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

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

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

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Cynthia Omotoyosi Ugwudike presents a solo exhibition featuring art you can explore and experience through feelings of touch and heartfelt connection. 

Multidisciplinary Artist, Cynthia Omotoyosi Ugwudike presents a solo exhibition, running from April 26 - May 11, at The Ark by Anny Roberts, entitled “In the Eyes of my Lover”. Featuring a passionate array of textile art designs to offer a feel of returning home to oneself as we acknowledge the ongoing need to seek housing in other people’s hearts through external validation and romantic love. The exhibition is open to the public from noon to 5 p.m. on the days it is running. 

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On the 28th of April 2024, Cynthia Omotoyosi Ugwudike made her first punch needle art piece, marking the starting point for her work with textiles. Subconsciously, this exhibition marks the one-year anniversary of that beginning, bringing together a year’s worth of experiments and explorations in textile. 

In the curatorial statement Chisom Peter Job writes, “Through punch needling, rug tufting, and needle felting, Cynthia Omotoyosi Ugwudike examines the concept of romantic love through the lens of the self, highlighting the interconnectedness between self-love and self-reflection and the role it plays in providing a multifaceted view of love.” The art is explained as an enforcement of love from within implying that the eyes of your lover is standing in front of a mirror and watching oneself first and foremost before getting to be seen by others— an invitation to see and affirm oneself before seeking recognition from others.

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In the Eyes of my Lover contemplates the dissonance between the ideals of love we are taught to aspire to and the often fragmented reality of selfhood and intimacy. Love, as presented in society, is rarely in perfect harmony with personal experience; it is shaped by longing, societal pressures, and internal contradictions. Cynthia’s work awakens vulnerability, allowing emotions like hope, desire and self-reckoning to coexist within each piece. The pieces present abstract ideas in pieces like “Pouring” or day-to-day activities like “Plantain and Egg” where familiar events like sharing a meal with one's pet resolve into deeper resonance, using visual and tactile tensions to suggest that true love, especially self-love, emerges not from perfection, but from the acceptance of our fragmented, evolving selves.

Visitors who have come from every walk of life and different states within Nigeria engage with each piece not just visually, but emotionally, reflecting on their own journeys toward self-recognition and love. Fellow artists describe Cynthia’s work as comforting and encouraging, offering a quiet resistance to capitalism’s pressures by affirming the value of inner worlds. Her pieces have challenged viewers to look inward and brew a love never-ending for themselves. 

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#ARTWITHDEEDS: For this week's ART WITH DEEDS segment, we’re highlighting Kwame Prince Boateng, an emerging artist whose work captures the ongoing evolution of culture, identity, and personal growth through a distinct black-and-white aesthetic.

Boateng’s creative world is one shaped by intention, reflection, and faith. Every time he steps into his artistic process, he begins by grounding himself spiritually, putting God first before layering his environment with the sounds of good music and internal conversations. To him, communication is not just an external act; it is a vital dialogue with self, allowing ideas and emotions to surface organically throughout the act of creation.

Cultural influence plays a pivotal role in Boateng’s art. His most recent body of work draws heavily from how culture continues to shift and reshape itself, citing contemporary figures like Playboi Carti as key inspirations. These cultural references are not simply stylistic, they represent broader ideas about transformation, rebellion, and self-definition in a fast-changing world.

When reflecting on his portfolio, Boateng rejects the idea of having a single favorite piece. "For every art piece I’ve made or recreated, there’s always been a reason behind it, and because of that, they all remain my favorite," he shares. To him, declaring a favorite would be to limit the fluid, ever-growing journey that his art represents. Instead, he embraces the ongoing learning and elevation that come with every new creation—believing that art, much like life, must remain free from self-imposed limitations.

Currently, Boateng is working on a highly anticipated project paying homage to a legendary pop culture moment: the viral tattoo of Young Thug’s Digits lyrics inked across a fan’s back. With a deep respect for music’s ability to transcend mediums, he is taking a thoughtful, deliberate approach to reinterpret this moment visually—blurring the lines between devotion, fandom, and artistic reinterpretation.

Through his black-and-white explorations, Kwame Prince Boateng offers a powerful commentary on culture, spirituality, and self-expression. His work challenges audiences to consider the spaces between sound and silence, light and shadow, individuality and collective memory—inviting all who engage with it to reflect on their own journeys of evolution and expression.

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

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

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

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

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

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

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

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

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

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

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

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

Growing up, who or what influenced your musical journey?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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The New York-born skate shop that James Jebbia founded in 1994 has exploded into a global phenomenon, yet it remains a paradox, a brand that’s both fiercely community-rooted and massively mainstream. How does Supreme walk this tightrope of being “cool” after three decades? The answer lies in a wild journey from gritty skate spots to high-fashion runways, all while keeping one foot planted on the board and an ear to the street.

Supreme’s story began on a small Lafayette Street storefront in NYC, envisioned as a home base for local skaters, artists, and punk kids. Jebbia arranged the shop so skaters could roll right in, fostering an inclusive hangout for the downtown community. Those community-first roots gave Supreme an authenticity that money can’t buy. Fast-forward 30 years, and that once-underground skate shop is valued in the billions — Highsnobiety reported Supreme was sold for $2.1 billion in 2020 and valued at $1.5 billion in a 2024 deal.

With that fame comes the paradox: Supreme is both the insider’s club and the global mass. This disparity perplexes fans and haters alike. The core skaters who grew up on Supreme’s gritty “Cherry” skate video references wonder if new followers truly get it. Meanwhile, teenagers who’ve never touched a skateboard obsess over Supreme as a status symbol. That’s the big question Supreme has grappled with: How do you grow a brand born in a tight-knit community without inviting in the posers and strangers? There’s no easy answer — it’s the ultimate paradox of success. Yet Supreme’s longevity suggests it has managed to expand its empire without totally losing its soul.

Supreme’s growth has been deliberately slow and strategic. In an era when lesser brands blitz into every mall, Supreme has only 18 stores globally as of 2025. Each new location is a major event; the opposite of a chain-store rollout. The latest example is the Miami store, which opened in April 2025. Supreme dropped its first Florida store in Miami’s Design District and it was nothing like a typical ribbon cutting. The 3,735-square-foot space features a colossal wooden skate bowl suspended eight feet above the floor, designed by Simparch in collaboration with Brinkworth, casting giant shadows and literally elevating skate culture into the retail environment. This “floating bowl” is such a statement: Supreme still invests in real skate infrastructure, signaling that it’s a skate brand at heart.

Supreme has opened only 18 stores worldwide, each launch orchestrated to feel rare. Brooklyn in 2017, San Francisco in 2019, Milan and Berlin in 2021, Chicago in 2022, Seoul in 2023, Shanghai in 2024, and now Miami in 2025 — venues chosen for their vibrant creative scenes and local skate pedigrees. “Miami kinda just checks all the boxes,” Supreme’s brand director Todd Jordan told reporters, citing the city’s youth culture, style, and growing skate community. By capping its global footprint, Supreme guards its mystique: lines still form around the block, and social feeds light up with exclusive city-only drops.

Supreme’s heart beats in board shorts and half-pipes more than boardrooms. To celebrate Miami’s opening, the brand premiered a new skate film at a drive-in complete with kettle corn, Heineken beers, and a cameo by rising star Zion Effs, a local 16-year-old whose fearless tricks in the bowl mirrored Supreme’s own risk-taking ethos. Rather than a glossy runway show, Supreme staged a genuine skate jam, underscoring that its core remains the pavement, not the runway. This fusion of commerce and culture ensures that Supreme sells and lives skate culture.

Beyond films, Supreme staffs its stores with authentic skaters. In Miami, the sales team included locals from Lot 11 skate park faces known in the scene who can gab about decks and ramps, not just push products. It’s a tacit message to any “poser” lining up for clout: if you want in, you’ll need more than a resale profit motive. As one Miami skate elder put it, “Skaters can still sniff out a poser a mile away” and Supreme’s staffing ensures the real ones feel at home.

While skate remains the soul, collaborations are Supreme’s rocket fuel. Weekly Thursday drops — ranging from collabs with heritage labels like Nike to luxury dips with Tiffany & Co. — keep fans guessing. The brand’s 2017 Supreme × Louis Vuitton collection remains a watershed, proving that a skate shop could sit at fashion’s head table. Since then, Supreme has teased everything from branded drum kits to box-logo Oreos, each drop sparking lineups at stores and server meltdowns online.

But this hype machine is a double-edged sword. As the brand’s fame ballooned, critics accused Supreme of “selling out,” pointing to celebrities in box-logo hoodies and a resale market once dominated by Supreme losing steam. In 2022, Supreme even slipped from the top spot on Stock X’s resale charts. Analyst Alice Price argues that predictable drops and overexposure have blunted that early frenzy: “Supreme’s drops have become so routine, they no longer generate the same buzz and anticipation they once did.” Still, love it or hate it, Supreme’s hype ecosystem keeps it in the cultural conversation — an uncomfortable spotlight the brand has learned to manage with a mix of irony and authenticity.

Amid digital hype, Supreme leans on old-school community rituals. In a world of virtual influencers and metaverse pop-ups, Supreme still believes in the in-person moment. “The IRL experience is the experience,” says Jordan, highlighting the curated playlists, art-lined walls, and skateable shop spaces that make each store visit feel like a sacred rite. Few brands can boast an in-store art installation, a full-size skate bowl, and a DJ booth all under one roof. For Supreme, these elements aren’t gimmicks — they’re the connective tissue between commerce and culture.

What does that mean in practice? Step into any Supreme location and you’ll see. It’s the wall art by edgy artists, the skate videos playing on screens, the thrum of a DJ’s playlist, the sound of wheels on the in-store bowl. At store openings, thousands reserve spots just to be part of the energy. They line up before dawn, rain or shine, not merely to buy an item but to join a community — even if just for an hour. Those who treat Supreme as a tourist attraction discover something deeper: a raw, unpolished scene where industry titans and underground skaters collide on equal footing. That human spark is a potent antidote to online-only hype, reminding fans that Supreme’s real power lies in togetherness.

At the end of the day, Supreme’s enduring coolness comes from its constant balancing act. It’s the brand’s ability to serve the skaters without alienating the masses, and vice versa. Supreme can sponsor the gnarliest young skater on the block and sell a collaboration hoodie with a luxury label, all in the same season. It can throw a fashion week party with A$AP Rocky one night and a locals-only bowl session the next morning. This shape-shifting might seem calculated, but it’s rooted in Supreme’s dual identity. The brand was born from an underground culture and still genuinely loves that culture — that’s why it keeps making skate videos, hiring skaters, and celebrating cities like Miami where skateboarding is thriving. Yet Supreme also isn’t afraid to embrace its role as a global tastemaker — turning its skate rat credibility into cultural capital that designers, musicians, and even corporations want to tap into.

This balance isn’t always perfect. There are missteps and growing pains, and the wider streetwear landscape is more crowded now with competitors Supreme inspired. Some say the brand has “lost its spark,” others argue it’s just evolving. But here’s what’s remarkable: in 2025, you can still spot a line wrapping around Supreme’s New York flagship on drop day, filled with kids who weren’t even born when the first Supreme store opened. You’ll also find veteran skaters like Jeff Pang or Eric Koston stopping by, or artists who’ve collaborated with Supreme proudly noting it in their bio. Supreme has become an institution, but somehow retains an outsider cool.

As one industry watcher noted, the premise behind Supreme is that the product is hard to get — it’s scarce. And scarcity and growth are really oppositional with each other. Supreme’s challenge is exactly that: how to grow yet stay scarce, how to be popular yet still feel underground. So far, they’ve done it by not chasing every dollar, by picking their battles, and by fiercely protecting the brand’s core image.

In the spirit of Supreme’s own rebellious streak, maybe the secret is that they don’t mind if not everyone “gets it.” Supreme has always been a bit enigmatic — minimal marketing, no interviews (Jebbia rarely speaks publicly), and a refusal to explain itself. That aura invites intrigue. Those who want in, find their way in; those who don’t, well, Supreme is fine being misunderstood by the masses even as it sells out products to them. It’s a paradox, sure, but it’s also the formula that keeps Supreme culturally relevant when so many other fads have come and gone. As long as a new generation of kids is skating, creating, and looking for a scene to call their own, Supreme’s red box logo will likely remain a beacon — a symbol that still means “cool” from the streets of New York to the avenues of Miami and beyond.

Make no mistake: the king of streetwear isn’t stepping down anytime soon. The community is still here, the hype is still here — and somehow, against the odds, Supreme is still Supreme.

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

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

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

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

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

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

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

5ive is a five out of five.    

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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In a digital era driven by hype, exclusivity, and high fashion price tags, Tolu Okoya Thomas is quietly flipping the script. Her platform, VYNT, is Nigeria’s answer to a global question: How do we make fashion more accessible, more conscious, and more connected to culture?

For Tolu, fashion has never been about fast trends; it’s been about storytelling. “My background is in law,” she says, “but fashion has always been my love language.” Like many millennials abroad, she got her start with Depop, flipping pre-loved pieces from her university closet into side income. But when she returned to Nigeria, she noticed something glaring: there was no safe, scalable way to buy or sell secondhand fashion digitally.

So, she built one.

What is VYNT?

VYNT is a mobile marketplace where users can upload, buy, and sell pre-loved fashion. But it’s designed as a resale app but it's a movement. Built around community, sustainability, and accessibility, it connects Nigeria’s love for thrift (or “bend down select”) with the power of digital tools, making secondhand fashion safe, stylish, and seamless.

“It’s not just about the clothes,” she explains. “It’s about creating a culture where fashion is for everyone. No gatekeeping.”

Streetwear for the Streets…Literally

The recent online discourse around the rising cost of Nigerian streetwear struck a nerve with Tolu. “Young people are the culture,” she says. “But they’re being priced out of the very fashion they inspired.” In her eyes, streetwear isn’t meant to be exclusive, it’s meant to be expressive. And VYNT is her way of giving it back to the people who built it.

Through curated listings, transparent pricing, and an equal-opportunity interface, VYNT levels the playing field, one preloved hoodie at a time.

Making Sustainability Stylish

It’s not just about style, though. The environmental angle is serious. “A single cotton shirt can take up to 2,700 litres of water to produce,” Tolu points out. “That’s enough drinking water for one person for three years.” With fast fashion’s global impact worsening, VYNT is part of a new wave of circular fashion platforms championing conscious consumption.

But don’t mistake sustainability for simplicity. “We make it cool to care,” she adds. “With VYNT, you can look great, spend less, and reduce waste all at once.”

Community, Not Just Commerce

From the jump, VYNT has positioned itself as a platform rooted in community. Beyond the app, Tolu is building real-world connections—with virtual seller bootcamps, pop-up events, university yard sales, and a vision for The VYNT Academy, an educational space for young fashion entrepreneurs to learn how to build environmentally conscious brands.

And while streetwear and skater culture remain early inspirations, Tolu hints at even more subcultural integration down the line. “These scenes are so rich with style. They’ll become an even bigger part of our DNA.”

So What’s Next?

Big things. Think upcycled fashion drops, streetwear collabs, fashion editorials, and even a VYNT runway show. “We want to be the cultural hub for African fashion,” she says. “I want ‘Vynting’ to become the new thrifting - a lifestyle that’s as cool as it is conscious.”

As Earth Month shines a light on sustainable choices, VYNT offers a simple, stylish solution: Dress well. Spend less. Save the planet.

And with Tolu at the helm, one thing’s clear - fashion’s future in Africa isn’t just fast. It’s VYNT-ed.

The VYNT app is available for download on the apple app store and google play store.

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

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

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

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

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

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

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

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

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

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

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

CREDITS

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Photographer: Jonathan Tomlinson @jtjtjtjtjtjtjtjtjtjtjtjt

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

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Producer: Seneo Mwamba @SeneoMwamba

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Stylist: Jacob R Levine @jacobrlevine

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Styling Assistant: @lenaangelides @y0ungabz

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Grooming: Afsha Kabani @afshaartistry

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Movement Director- Ayanna Birch @ayannabirch_

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Lighting Director @jonah_dali

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BTS videographer: Shirin Chorfi @shirinchorfi

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Design: @margokatesmith & @ShalemAlone

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Creative assistant : Whitney sanni @its.whit_

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Writer: Seneo Mwamba @seneomwamba

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PR: Emerald East @emerald__east

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Styling

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Look 1:

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Jacket - Ala Tianan @alatianan

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Top - KOAT @koat.ny

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Bottoms - Labrum London @labrumlondon

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Shoes - Roker Atelier @roleratelier

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Hat - Stylist own

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Jewellery - Emanuele Bicocchi @emanuelebicocchi

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Look 2:

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Suit - Labrum London @labrumlondon

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Top - Mains London @mainslondon

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Shoes - Stylist own

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Hat - Benny Andello @bennyandello

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Jewellery - Emanuele Bicocchi @emanuelebicocchi

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Look 3:

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Full look - William Palmer @williampalmer

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Shoes - Diemme @iprlndon

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Hat - Benny Andello @bennyandello

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Jewellery - Emanuele Bicocchi @emanuelebicocchi

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

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

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

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

Meets the Players

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

Element House

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

Oontz Lagos

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

Group Therapy

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

Raveolution

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

Tamba

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

Sweat it Out

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

Sunday Service

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

Monochroma

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

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

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

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For this week’s ART WITH DEEDS feature, we’re proud to highlight Emmanuella Aliu, a bold and introspective artist whose work exists at the intersection of emotional complexity, playfulness and social intention. From childhood doodles to dynamic multimedia experiments, Aliu has cultivated a style that resists boundaries—one that’s less about perfection and more about truth, in all its forms.

Aliu’s recent work emerged from her preparations for a group show in Philadelphia, held in April. Invited by curator and creative force Renee Wilson, the opportunity sparked a deeper exploration into Philly’s diverse and unfiltered art scene. What she found was a place that valued difference, a city where the unconventional wasn’t just accepted but celebrated.

“The art scene is super diverse out there,” she shares. “I realized I could honestly do whatever type of art I wanted, and people would still receive it as art. There’s this openness and respect for different styles.”

One particular piece by a local artist who goes by “Irregular”—a glass-crafted graffiti-style eagle—left a lasting impression. It was a moment of clarity, a reminder that art doesn’t have to fit into a box. That realization continues to inform her creative freedom and fuels a visual practice rooted in emotional spontaneity.

Among Aliu’s growing body of work, one piece stands out for its raw emotional resonance: Bald Medusa. Originally untitled, the name stuck over time, becoming a kind of mythos in itself. Born from Aliu’s personal experiences with anxiety and depression, the piece doesn’t attempt to hide or soften its source material. Instead, it reimagines it.

“It was my way of expressing what my anxiety and depression looks like to me,” she says. “But instead of making it something scary or sad, I wanted to show that it can still be beautiful in its own way.”

Viewers often interpret the piece in wildly different ways—some see a fairy, others a goblin. But to Aliu, Bald Medusa is exactly as she imagined: a powerful feminine figure stripped of convention and adornment. It’s that duality, personal origin versus public perception, that makes the piece so compelling.

“That’s what makes it special. It came from something personal, but everyone sees something different in it.”

Aliu’s creative process is intentionally fluid, often sparked by chance moments. It might be a powerful frame from a movie, a striking lyric in a song or a fleeting facial expression during a conversation with a friend. Her approach is more about capturing a feeling than following a formula.

“Sometimes I’ll be watching TV, and I’ll see a frame that’s just … really wicked. I’ll pause it, take a pic, and later sketch it out on my iPad,” she explains. “Other times, I’ll be listening to music and just feel the visuals forming in my head.”

A lover of animation and character design, she often draws inspiration from cartoons, appreciating the freedom and emotional range that stylized figures can communicate. Her influences range widely, and that diversity shows up in her pieces, which feel lived-in, relatable and refreshingly unpredictable.

While drawing has always been second nature to Aliu—tracing back to her early years in primary school—she resists being seen solely as “an artist.” Her vision stretches beyond the canvas. For Aliu, art is a means to connection, and her ultimate goal is to create spaces where other underrepresented creatives feel safe, celebrated and heard.

“I feel like I was meant to be a door, a platform for other people, especially artists who don’t feel seen or heard,” she says. “That’s what drives me more than anything.”

She dreams of owning a community-driven gallery: part workspace, part classroom, part sanctuary. A place for workshops, studio time, late-night jam sessions and deep, affirming conversations about the power of creativity. Her goal is rooted in access and representation, two things that remain limited in traditional art spaces.

“Minority representation in the art world is still so small, and I want to help change that.”

Right now, Aliu is deep into her colour grading series—an experimental exploration where she redraws the same artwork in completely different colour palettes. The result is a fascinating study of how mood, tone and narrative shift based on hue alone. She’s also having fun reinterpreting cartoon characters with similar energies but from vastly different worlds, blending universes and testing visual identities.

This playful, multifaceted approach is central to her practice: experimenting with variations, leaning into imperfections and allowing art to surprise her. Through each piece, Emmanuella Aliu continues to challenge the expectations of what art should look like. In doing so, she invites us all to reimagine the power of expression on our own terms.

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

LADY DONLI

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

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

DETO BLACK

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

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FAMOUS PLUTO

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

JUNO

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

KUNMIE

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

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TXC

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

LLONA

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

MAVO

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

MOJO AF

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

SAINT TAJ

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

TOYE

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

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ZAYLEVELTEN

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

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

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

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

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

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

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

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What is Homecoming?

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

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

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HI-FI: OUR HOMECOMING’S VERY OWN RAVE 

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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TOMMY HILFIGER PAYS HOMAGE TO ITS SAILING HISTORY LAUNCHING THE HILFIGER SAILING COLLECTION

Rooted in a legacy of nautical heritage, the limited-edition capsule reinterprets classic sailing codes through a modern lens, blending maritime tradition with sporty prep influences.

AMSTERDAM, THE NETHERLANDS (APRIL 2025) – Tommy Hilfiger, which is part of PVH Corp. [NYSE: PVH], charts a new course for Spring 2025 announcing the Hilfiger Sailing Collection - a contemporary reimagining of archival silhouettes inspired by the brand’s deep-rooted connection to the sea.  From the regatta to the runway, Tommy Hilfiger has drawn inspiration from sailing since the '90s, seamlessly fusing seafaring tradition with cutting-edge innovation. As the brand celebrates 40 years of nautical heritage, the capsule breathes new life into classic designs, bridging past and present to redefine modern coastal style.

“The open water and the yachting lifestyle have always carried a sense of freedom and adventure,” says Tommy Hilfiger. “Since the early ‘90s, our collections have captured the spirit of the sea, embracing maritime influences and blending relaxed sailing-inspired design with timeless prep. This collection is a tribute to that passion, a modern interpretation of our nautical heritage that remains true to the pioneering spirit of the brand.”

The 22-piece capsule is inspired by the energy of sailing down the Hudson River, fusing technical expertise with the effortless spirit of maritime adventure. Designers delved deep into the archives to reimagine classic styles, creating a collection that bridges vintage nostalgia with modern performance. Technical regatta jackets layer over fleece hoodies and striped tees, while a woman’s nylon deck coat is redefined with fresh, feminine proportions and reversible functionality. Iconic motifs — ropes, pulleys and signal flags — are woven into the collection, merging collegiate-prep aesthetics with sea-faring influence and reinforcing TOMMY HILFIGER’s signature fusion of sport and style. A refined color palette of sophisticated reds and greens adds a contemporary touch, elevating coastal-inspired staples with a fresh, effortless spirit.

A lifelong passion for sailing has shaped Tommy Hilfiger’s design philosophy, with a pioneering spirit at its core. Inspired by an obsession with sports uniforms and design codes, he embraced competitive sailing in 2003, forging partnerships with world-class crews and combining performance-driven innovation with classic Americana style. The brand's original logo debuted as a bold, rectangular “flag” with Tommy and Hilfiger framed in navy bars. Designed to evoke a sense of nautical heritage, the logo integrated Hilfiger’s initials in maritime signals -TJH (Thomas Jacob Hilfiger) - setting the stage for an icon. 40 years on, it remains one of fashion’s most recognizable symbols.  Now, this legacy now takes on new momentum with the brand’s sponsorship of the U.S. Sail GP Team – a game-changing fusion of sport and style.

The Hilfiger Sailing Collection will be available on tommy.com, in TOMMY HILFIGER stores worldwide and through select wholesale partners beginning on April 9, 2025.

Friends and followers of the brand are invited to join the conversation on social media using #TommyHilfiger and @TommyHilfiger.

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Under Armour is known for its relentless pursuit of performance innovation, creating gear that helps athletes push limits and break barriers. Today, the brand is stepping beyond the arena and into culture, making a bold statement with the launch of UA ECHO—a shoe that redefines what Under Armour stands for.

This isn’t just a new shoe—it’s a shift in identity. UA ECHO represents a deeper connection with the next generation of athletes and culture drivers, especially Gen Z, who see style as an extension of movement and self-expression. Under Armour is stepping off the court and field, expanding its influence into sportswear and street culture.

Designed with a bold, sculpted silhouette, innovative materials, and an unapologetic streetwear aesthetic, UA ECHO is built for those who don’t just move through the world—they make an impact. It’s a shoe that speaks the language of a generation that refuses to be defined by just one thing.

“UA ECHO is our first step in defining sportswear at Under Armour.”

“Innovation has always been our driving force, and with UA ECHO, we’re elevating it—fusing performance, design, and technology to set a new standard. This is more than just a launch—it’s the foundation of what sportswear means for Under Armour.”

Yassine Saidi

Chief Product Officer and General Manager

A Shoe Engineered to Disrupt and Define

UA ECHO makes an impression before you even take a step. It looks like it’s in motion even when standing still.

The multi-layered monofilament mesh upper delivers both structure and breathability, giving it a sleek yet durable feel. The asymmetrical speed-lace system is engineered for a locked-in fit that moves with you, adapting seamlessly to the pace of life. Translucent overlays and aggressive geometric lines add to its futuristic aesthetic, creating a silhouette that’s fresh, modern, and built for those who move fast—in sport, in culture, and in their ambition.

"UA ECHO was made for the game-changer - transformative and bold in their style. UA ECHO is for individuals who walk into a space and own it. They reflect their confidence, ambition, and relentless pursuit of what's next.”

Sasha Chaplin

Senior Product Line Manager Sportswear Footwear at Under Armour

A Balance of Fashion and Function While UA ECHO is a style-driven shoe, it is elevated through innovation. Beneath its striking exterior, Under Armour’s signature full-length HOVR® cushioning provides the comfort, impact absorption, and energy return needed for an on-the-go lifestyle.

The lightweight, flexible outsole ensures effortless movement, making it a shoe that seamlessly transitions from streets to social spaces, from day to night. UA ECHO was designed to adapt—just like the people who wear it.

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

Tracklist:

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

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

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

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

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

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

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

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