Afropunk Music Festival was founded in 2005 and is one of the largest black music festivals in New York City. Its name perfectly encapsulates and embodies the role that the festival sought to fulfil – create a safe and expressive place for black punks and alternatives. Over recent years, the individuals who Afropunk was created for, no longer feel at home and that their once safe space, has been encroached, commodified and gentrified. This can largely be attributed to the Festival starting to charge as it once was a free event. In order for one to get a ticket, you had to volunteer within the area. The festival selling out months before August was met with much outrage on various social media platforms as individuals could often get tickets on the day. On top of this, Afropunk attendees, Ericka Hart, Ebony Donnley, Lorelei Black were reportedly removed the festival for protesting the festival by wearing shirts which said “afropunk sold out for white consumption”. Admist all of this, Afropunk is beautiful and has maintained the ambience it initially sought to create. Upon entering, one can only marvel at the sea of black beauty which is thrusted at your eyes.  At my first Afropunk in 2017 I was overwhelmed and enamoured by everything I was seeing  and this year was no different. What was within the gates of Afropunk 2018 was a sensational spectrum of black skin cloaked in the most elaborate and expressive outfits, a beautiful picture of afrocentric and punk celebration from men and women in varying  ages and sizes. This year’s Saturday line up was simply stellar as were their performances. It included a slew of punk DJ’s and more notable alternative R&B artists such as H.E.R, The Internet, Smino & Daniel Caesar.  H.E.R jumped from every musical instrument on stage with the greatest ease showcasing her skill and proficiency and The Internet performed a perfect medley of Ego Death and Hive Mind tracks. Daniel Caesar entranced us with his sublime vocals. And of course he later joined H.E.R during her set to perform Best Part. And Miguel never dropped a note despite summersaulting and sprinting to and from each end of the stage. Kaytranada’s set was the most fitting way to end the festival. Performing a flawless set comprising of his older and newer tracks, he had the crowd eating directly out of his palm. Afropunk wouldn’t have been as sensational without the attendees. It’s almost impossible to escape the “Yass Queen” or “F*ck it up” which were being hurled in every direction. People are fab, kind and just there to have a brilliant time. Irrespective of the issues which afropunk may be experiencing, it didn’t fail to disappoint. Thanks AP, till next year!

The LA-Based group first made waves in 2015 following the release of their third LP, Ego Death. The project was so well-orchestrated that it awarded them a much deserved Grammy Nomination. Since the R&B collective’s ascension, they have managed to stay in their own musical lane – managing to produce unique alternate sounds which are appreciated and difficult to imitate. With the collective constantly breaking and pushing boundaries, it was somewhat impossible to gauge the type of sound one would get with Hive Mind. The only certainty was that it was going to be great, and great it certainly was. Following the release of Ego Death in 2015, the band embarked on a rather abrupt musical hiatus with vocalist Syd, guitarist Steve Lacy, producer Matt Martians, drummer Christopher Smith and bassist Patrick Paige II  releasing their own individual projects. This sparked fears that the group had disintegrated all too soon. But despite the hiatus, the band sound as cohesive and collaborative as ever as they open the album with Come Together. The track is brought to life by Patrick Paige II’s strong baseline which ricochets throughout the track.  When asked during their recent interview with Gaby Wilson how they felt having the group back together, Syd answered “We never broke up, we were just all on different pages musically”. On the chorus, the band sing in perfect harmony “They gon’ get us to, come together”. And as the title of the album implies, the band is the most in sync they have ever been. The album has no features. Their first album featured the likes of Tyler the Creator, Janelle Monae and Kaytranada, but on Hive Mind, the band opted to keep everything in house. Ego Death was primarily lead by Syd but on this project, all members are able to shine; The 70s inspired roll bounce track, Roll (Burbank Funk)  is lead by an infectious funk percussion and laced with Steve Lacy’s, the group’s guitarist, almost hypnotic vocals. Upon hearing it, you can’t help but dance. Matt Martians takes the lead towards the end of the album on the groovy, alternative drum n’ bass track The Beat Goes On and Patrick Paige delivers an emotive outro rap on It Gets Better With Time. During the third part of their segment with Beats 1, the group broke down every track on their album. The song which held the most significance for the band was It Gets Better With Time, a song which they sought to inspire hope amongst listeners who needed it. Syd revealed the song was her way of speaking to her younger self as she had grappled greatly with suicidal thoughts in the past. The band have this formidable ability to reel listeners into their music and keep them somewhat entranced – this being the case for fans and listeners who simply stumble across their music. And with the band covering themes like love, relationships and loss, it makes it even more relatable and listenable. On Come Over, Syd is attempting to get her love interest to come over and on Stay The Night she is trying to do just as the title implies. But on Bravo, the once sweet relationship takes an unexpected sour turn as Syd bitterly sings “Thought that you had changed/I found out/it’s just a role you play”.  In essence, the song is about Syd realising she had been deceived by her love interest and by singing “Bravo” on the chorus, she is commending her for somehow managing to do so. The question on many fans’ lips is “Ego Death or Hive Mind“. With some even being sceptical of this project when comparing it to the band’s last album which has been dubbed an undisputed classic. On this album, The Internet produced a funk infused sound, melded with Motown melodies with layers of sultry R&B vibes. Each song falls so perfectly on the ears – with every drum pattern, chord and melody sounding so deliberate yet simultaneously so effortless and accidental. Hive Mind defied sceptics who thought their sabbatical would hinder the group’s ability from making another classic album.

When the opportunity to see some of most prolific artist in the country presents itself, who am I to say no? The Adidas Creator Base event reminded me that the UK music scene is going in an exciting and innovative direction. Each act grabbed my attention for different reasons, and rightly so. Kenny Allstar was on the decks to warm up the crowd but he did much more than that. Every time I see a DJ set from Allstar he gets that much better. He doesn’t need to prove himself at all but he always comes onstage as if he has a point to prove and his mixes, transitions and the crowd’s reaction stand as proof. He explored UK trap, hip-hop and still whilst featuring afrobeats and bashment in the process, proving that there isn’t a genre he can’t conquer. The first act on stage was D-Block Europe. They performed banger after banger, amping the onlookers with every track. Youngz Adz screamed “energy, energy” before singing The Shard, and that’s exactly what we gave him. Camera flashes illuminated the stage and lyrics were being echoed around the venue. The atmosphere was electric. Even Yxng Bane momentarily became a fan when he intruded their set and sang the chorus with the duo, which just goes to show the range of people that appreciate their sound. The headliner and last performer of the night was IAMDDB. She jumped onstage with a vibe that was immediately infectious to everyone present. Her personality seeps into her stage presence and it definitely bettered my experience. She is unique in herself and that is why her music is too. Who else burns incense and holds a rose whilst singing? She played well known songs, such as Pause and Shade (thrice and the crowd went ballistic every single time) and she also gave us an exclusive performance of her new song XOX from her new project, Flightmode Vol. 4. The Mancunian rapper/singer came to steal the hearts of her fans in London as if it were her hometown, and we all let her. The night was a showcase of emerging talent from all over the country that shows the evolution of UK music today. Every act represented their sector of the music scene and did it justice and then some. They all deserved some accolades, and that’s a fact.

Atlanta’s selling point thus far has been its ability to provide comedy through hyper-realistic situations. The show achieves this through banking on its audience’s understanding that mundane, everyday situations can be and often are quite funny. The characters are not presented as mere punch lines; rather they are regular people who manage to find respite in their lives despite the constant tensions. The second season of Atlanta has undoubtedly carried a lot more tension than the first, with the episodes leaning slightly towards horror. Similarly to the two previous episodes, the 6th episode of season 2: Teddy Perkins, was a character episode. It featured Darius in his journey to pick up a used piano, which formerly belonged to a musician by the name of Benny. As soon as Darius arrives at the musician’s home we start to notice all the common horror movie tropes. The menacing mood, the door cracking open even before Darius has a chance to knock, the poorly lit house and the deafening silence, right before Theodore (Teddy) Perkins unexpectedly appears behind him. At this point we are already aware that, unlike previous episodes, this one might not offer the typical humour we are accustomed to, but we are still not sure what exactly is going on in. And it is for this reason that the drive-through scene that takes place about halfway through the episode stood out for me. Darius steps out to make a phone call that lets us see what Earn, Al and Tracy are up to; the trio is at a drive-through getting some food. This phone call is significant for many reasons. Firstly, it confirms that the bizarre situation Darius has found himself in; however nightmarish it may seem is indeed real. It also gives us a much-needed break from the disturbing scenario and when the trio looks up Darius’ description of Teddy as “Sammy Sosa in a dryer,” we can’t help but laugh at their priceless reaction. In this way, the episode is able to maintain an endurable amount of tension, which allows us to stay attentive to the layers of messages provided once the frame returns to the musician’s house. Now to further home into the scene: Al’s music career is growing and he now has to deal with more people recognising him everywhere goes. Fans are constantly trying to be nice to him so they can gain favour and it is entertaining to say the least. In this case despite his clear instructions that he did not want fries and is willing to pay extra, the drive through cashier still insisted on including them in his order as a courtesy: “I put some extra fries in there,” “…Take ’em out,” “Just don’t eat ’em, damn.” Tracy tries to explain to the cashier why Al insisted on ‘no fries’ when he offers that “That’s rich n***a shit, man. You don’t know nothing about that.” Therein lies another reason why the comedic relief side-bit is significant. It offers an insight (however small) into Al’s character development. We see how the he (still) hasn’t quite reconciled with the idea of being a ‘celebrity’ and how this would sometimes entail him humouring his fans. There is still an apparent inner conflict of whether he wants to be the ATL rapper: Paper Boi or regular Alfred. To fully transition into a full time entertainer Al might have to quit dealing drugs in the street, which at this point of the season seems to be more about preserving the regularity of his life than making extra cash (one would think getting robbed by his dealer would be the motivation to stop). But we know this is no simple task for the rapper. He has expressed his disdain for the way money and fame seems to change rappers several times. Al’s discomfort with complying with rapper tropes is by no means some kind of mask for his fear of success. He quite literally just wants to remain himself.Yet again we see Atalanta bringing up the recurring theme: how do you seek success while staying true to who you are? Even in the harrowing Teddy Perkins episode, the show still managed to include a purposeful and genuinely funny comedic relief side-bit. The drive-through scene hit home just right, helping to further the narrative in the particular episode as well as in the whole season.

May 25th marked the opening ceremony for Bare Lit and I was honoured to be covering such a groundbreaking annual event. The weekend-long festival, founded by Henna Zamurd-Butt and Mend Mariwany, was created in response to the lack of diversity in the literary arts. Being a writer, fan and advocate for the cause, I knew I could not miss the event as it is something I am deeply passionate about. Everyone present was open minded and mutually agreed on the fact that Bare Lit was necessary in order to inflict cultural change within various industries. The weekend commenced with an opening ceremony on the Friday, which consisted of a short play. Gala Mae was written by Annette Brook and set in 1950s Soho. The snippet of the drama shown followed the love story between a Chinese sailor and a mixed-race barkeep who had lived in Britain her entire life. The performance was the perfect way to open the festival due to the nature of it. There was a suffocating tension during the 50s that resulted in xenophobic behaviour. It was still illegal to be gay and there was also prejudice towards ethnic minorities. Soho operated as an area where people were free to express their sexuality and culture accordingly. This is seen through the piece, as one of the characters is gay. In the opening scene, we see the man come home from work and pull down his top to become a dress. The play was an embodiment of everything Bare Lit stands for. The discussions, panels and readings all began on the second day. I had the pleasure of sitting in on Literary Battlegrounds of a Historic Struggle, which focused on UK Black Pride. The panel was comprised of a poet, a barrister, a publisher and the host who was in affiliation with the UK Pride movement. The talk was centred on oppressive struggles and how their work counteracts the discrimination they face as members of the LGBT community. It was interesting to see how although their methods and professions differed, they ultimately shared similar sentiments against their oppressors; which can be summarised by a line in one of PJ Samuel's poems: “fuck you”. Live Storytelling was the session that surprised me the most. Mara Menzies performance was particularly fascinating and captivating. She told a forgotten tale of a Yoruba deity called Orisha, and the origins of his story. Not only did Mara give a gripping recount, but it was also animated as she used her body to accentuate certain parts. She commanded the space that she was in and brought life to her words. After the reading, I was able to ask Mara a few questions and what stood out was how she had crafted her skill. She doesn't write the stories down and so she said, "every story I tell is different". I feel as if this method of storytelling brings ingenuity to a traditional custom. It adheres to how this particular tale was told with a modern twist, that interests listeners irrespective of their cultural backgrounds. Sunday emanated a different atmosphere from the previous days, which was a testament to the miscellany present at Bare Lit. A screening that I believe held incredible significance was (Em)bodying Lit: D/Deaf and Disable Poetics. It allowed the audience to gain insight on a perspective that is arguably overlooked. It was the first time I regarded sign language in a poetic fashion and thought about how the visuals could be interpreted without sound. The afternoon began with a live poetry reading by Kayo Chingonyi, accompanied by the members of Mostly Lit, a literature and pop culture podcast. Kayo went on to recite a selection of verses from his collection, Kumukanda (loosely translating to 'initiation' or 'rite of passage'), that explored concepts of music, race, identity and masculinity. His poetry heavily resonated with me as a young black man and fellow poet. His influences were evident to myself but when executed with emotive language and literary technique, his message became universal. He then joined the rest of the panel and answered questions centred around his work. The bubbly and lively personalities of the Mostly Lit cast gave birth to a relaxed, intimate and entertaining discussion that I believe enabled the crowd to get the most out of Kayo's poetry. The main event didn't disappoint. The highly anticipated keynote speaker came to read, drop knowledge and leave all in the space of 30 minutes. Nii Ayikwei Parkes gave a profound talk on how everything is, "by design" and used the world of literature as an example. He spoke on privilege and how inequality is not by chance, rather, something that has become entrenched with a purpose. Similarly, Parkes briefly touched on the impact of language and the design of it too. Language holds a sense of authority within a certain place, giving those who speak it a certain confidence. This brings to the light the question: how do we utilise something that isn't designed for us? The Ghanaian writer and poet gave guidelines as a solution to the problem: starting with redesign. He stressed that the initial design was never obligatory, it was only favoured. To do this, the design has to be understood, so that the redesign can be camouflaged within. Parkes coined this, "interior design". He was informative whilst keeping his speech light, with humorous anecdotes and personal examples. It rounded off the festival faultlessly. Bare Lit had the objective to redesign the lack of diversity in literature and it is safe to say we are one step closer to change.

Garden (Say It Like Dat), the 8th track on Solana Rowe’s sophomore album Ctrl, is in my opinion the best song on the Grammy Award nominated masterpiece that was released June 2017. So naturally fear crept in when she announced she was going to be dropping a visual, as I haven’t been entirely fond of some of her recent releases. However, all worries were put to rest when I saw who would be directing it: Karena Evans, a 22-year-old Canadian music video director recently accredited for Drake's Nice For What and God’s Plan. She started off as an intern at ‘Director X’s’ company and worked her way up, gaining his interest by “grinding on low budget jobs giving big budget results,” according to the man himself. The main element that makes her visuals so special is that they suggest she listened to the song when storyboarding, unlike a lot of videos I find myself watching these days. They don’t seem randomly thrown together based on what she thought people want to see, but what she saw. This is palpable during the four minute picture. Her other work, Nice For What was so creatively sound, with each woman having their individual tone without losing that persistently deep, yet glittery colour scheme throughout. I was stunned. Not to forget, God’s Plan that achieved exactly what I believe Drake wanted it to without a hint of corniness. She seems like a force to be reckoned with. The first thing I became aware of was the breeze that runs right through the colder shots in the video. The cave, the sea and Glover staring at Rowe so adoringly, immediately takes you to the Garden of Eden. The warmer shots were given an airy effect by reflections of light off the camera lens coupled with that beautiful haze filter that sits over the entire visual. I was instantly enamoured, to put it lightly. The next thing I noted was the incredible chemistry between Rowe & Donald Glover, which I must admit, was completely unanticipated. Gambino's cameo didn't come as a surprise, seeing that SZA also featured in his critically acclaimed This is America music video (for whatever reason). Despite that, they looked effortlessly breathtaking as the ‘Adam & Eve’ themed characters. They managed to capture the female perspective on the story that preceded ‘The Temptation and Fall of Man’, where presumably ‘Adam and Eve’ were living in a beautiful garden of hood love. Rowe’s mother, Audrey, being the ‘God’ themed character further solidifies the notion that women are indeed the beginning of life. And not just any woman; a black woman. Glover having a number of close up shots with a few wider ones of him watching Rowe, so softly depicts the ease at which Adam must have fallen in love with Eve. At this point, I’m almost certain Evans had listened to the song as many times as I did. The Island of Maui was simply the perfect location for the theme. It allowed the cinematographer, Bérénice Eveno, room to work with both the sun and the sea in equal proportion. Solana and her mother in front of her throne quickly became one of my favourite stills of the entire visual, as the look of gratitude on Rowe’s face as she leaned into her mother was so incredibly profound. That single shot made it imminently clear that even though she loved Glover’s character, the relationship between mother and daughter is the real purpose and source of the peace emanating from the pores of the film. And I felt every ray of it.

On the 26th of June, WizKid made history as the first Afrobeats artist based in Africa to sell out the O2, joining the very small list of artists to sell out the arena at all. The Nigerian singer/songwriter has been beloved by Afrobeats fans since his Don’t Dull era from his debut LP Superstar but it was his sophomore LP Ayo that solidified his place as one of the best Afrobeats artists of our generation. Ayo featured the pop-y Jaiye Jaiye, the party starters: Show me the money, and Caro, and one of his biggest and personal hits thus far, Ojuelegba, that got the world wide coverage to put him on the international map. Since then WizKid has worked with artist from all over the world including DJ Maphorisa, Major Lazer, Drake, to create a versatile discography, all while staying true to his Afrobeats roots; making him the perfect headliner for the first ever Afro Republik festival. Apart from WizKid, the festival featured an exciting line-up of the current to-watch-out-for African artists based in Nigeria, Ghana as well as the U.K. One of the standout acts at the festival was Yxng Bane. The East London artist not only has incredible stage presence, but also masterfully uses his sex appeal, to captivate the crowd when he performs. With songs like Shape of You, Rihanna and Fine Wine, Yxng Bane made sure he had the undivided attention of the women in the audience; even casually removing his shirt before moving closer to the front row as he serenaded us. Towards the end of his set, a female dancer joined him on stage for “Vroom;” she admittedly stole the spotlight from Yxng Bane, and quite frankly revived my interest in the 2018 single. Maleek Berry, Tekno, and Not3s also opted for solo performances, while back up dancers and a live band accompanied Tiwa Savage and Mr Eazi for their sets. The dancers on Mr Eazi’s set were particularly memorable because of the way their costumes paid homage to certain bits of West African traditions. Their costumes as well as dance moves were put together to match the specific songs they danced to. Not to mention the live band that flawlessly matched the laidback, good-feel vibe his music offers; while adding their own personality to the songs. There was a very holistic feel throughout Mr Eazi’s performance; everything felt purposeful and well thought out. Another highlight was the surprise appearance by Giggs for their track London Town. A noteworthy part of the festival was Tiwa Savage’s whole set. The Nigerian songstress entered the stage barefoot, so we already knew she was going to shut it down. Tiwa Savage opened her set with the hit single “All Over,” quickly getting the crowd on their feet and she made sure we stayed up and dancing for her the entire time. Having been a Tiwa Savage fan for years (15yr old me was convinced she could relate to Kele Kele) I was aware of her vocals, but listening to her belt out runs right after a perfect sequence of choreography made me appreciate her as an artist so much more. Finally it was time for the headliner: WizKid, who had the pleasure of being introduced by the one and only Naomi Campbell. The Starboy entered the stage, sporting a fashion-forward black bedazzled tracksuit with a matching ski mask; the legend in him truly jumped out. Naturally he started off with his classics. “This one is for the OG WizKid fans,” he repeated before each classic, and to prove that we were indeed OG fans we shouted the lyrics at the top of our voices, as if to impress him. He gradually moved along the timeline and eventually got to his more recent singles, bringing Tiwa Savage out once again for Ma Lo. WizKid ended his set with Ojuelegba, which he dubbed as ‘the anthem.’ For this he had backup singers emulating a church choir, which added a soulful element to an already moving song. “I am feeling good tonight,” the crowd sang along, with nothing short of joy and pride. Like the MC of the night Eddie Kadi said, “we are raising a generation of Africans who are proud of being African,” and it was more than evident on that night. Afro Republik made history all while allowing us to celebrate our African-ness in one of the ways we know best, singing and dancing with fellow Afrobeats lovers.

Childish Gambino spent much of 2016 telling us to “stay woke” on his platinum record Red Bone. If that wasn’t enough of a startling alarm, then the visuals and meanings behind This is America will certainly wake you up from your slumber. I can only describe the song as a modern day negro spiritual – drifting between influences of gospel, folk, funk and trap.The video, directed by Hiro Murai, depicts Gambino’s interpretation of America and is laden with political, cultural and historical references specific to the black experience. So what is America to Gambino? A place in which police brutality is rampant and black lives are dispensable. The video opens with a man playing the guitar and then he is abruptly shot. Gambino shoots him in the style of Jim Crow and his lifeless body is dragged off without leaving a trail of blood, it’s almost as if it never occurred. Gambino makes reference to the Charleston shooting by assailant Dylan Roof. A joyous gospel choir grace the screen but are quickly shot with an assault rifle. The video is organised chaos ensuing before our eyes. One can watch the video and be somewhat hypnotised by the dance moves from Gambino and the school children. Between them perfectly hitting the Gwara Gwara and the shoot dance, it is easy to not take note of the madness ensuing directly behind them all. This was Gambino’s point. There are policemen, riots, fires, but in all this, it is Gambino who holds our attention captive. Oppression and racism are rife in our own worlds, yet we ignore it and remain entertained and distracted by pop culture and social media. This could be the world’s coping mechanism or a complete dismissal. Gambino also makes a reference to the individuals who record shootings and other incidents of discrimination and bring them to light. The video has an atmosphere of freedom yet similtaneous one of premonition – this is an identical feeling for many African-Americans as they navigate themselves in modern America. Amidst the devastation and turmoil, Gambino remains jovial and continues performing. Even the man shot at the beginning of the video, goes back to playing his guitar at the end. This may allude to how their pain is manifested in our music or how we must simply continue with life as if nothing has happened. The video is somewhat of a visual masterpiece and laden with references which many will not understand, as it is not the America they have to pay attention to. For some, Beyonce’s recent Coachella performance paid homage to black culture, particularly that of HBCUs, for others, it was 2 hours of fantastic entertainment. For some, This is America meticulously articulates their experiences in America, for others, it is merely art.

To put it simply, seeing RAYE live was the surprise I never knew I needed. My view of her music was largely shaped by the songs I had heard on the radio, accompanied by the assumption that: if KISS plays it, then it has to be pop. Although some of her discography may fall into the pop category, she explores a multitude of sounds. RAYE is nothing short of diverse. The concert marked a plethora of 'firsts' for me. It was the first music event I attended by myself, the first show I reviewed strictly as press and the first (and last) time I went to a gig with minimal knowledge of the artist. Another first included seeing a performance at Village Underground. The venue feels as if it has an element of secrecy to it. The building is unassuming from the outside, whilst the interior is edgy with brick walls and dark colours. The bright and eye-catching sign that read "RAYE" stood out with a colourful pop because of the contrast. It set the scene perfectly for an intimate, yet lively audience. The set was opened by Tara Lily, a jazz singer with a modern twist to her songs. She took to the stage with only a keyboard but the basic set really displayed the regality of her vocals. Her voice was simultaneously commanding, controlled and light. My only reproval was that her set wasn't long enough. The factor that kept me entertained from start to finish was her undying vivacity. RAYE came out with an energetic agenda and adhered to it throughout. She performed Crew ft. Kojo Funds and RAY BLK from her new EP, Side Tape. The song immediately set the tone and the crowd were responsive in a way I had yet to experience. The atmosphere was similar to an exclusive party rather than a concert, and the vibe seemed to suit her style. She went on to play more songs from her latest project, including a standout performance of Wife Me, which she dedicated to her women in the audience. The song showcased RAYE's talents, not only as a performer but as a songwriter too. She sang with passion and it clearly resonated with a number of listeners as they sang the chorus back to her louder than she could with the mic. Confidence also sparked an excitement within the building. She brought Maleek Berry onstage, who features on and produced the record. The melody is very playful and not typical of rhythms we are used to hearing her on, but the difference is refreshing all the same. Kojo Funds made a cameo too. The East London rapper came to support RAYE by singing Check. I was able to catch up with him after the show and it is clear that he has a lot of respect and admiration for her as an artist. Owing to the adage, 'the show must go on', she continued to play some of her older tracks as well as some unreleased ones, which came as a treat to many diehard fans present. Her final guest of the night is arguably one of the most influential in terms of building her career. She brought out Jax Jones to sing their hit, You Don't Know Me. This was the song I was most familiar with and described as "pop from the radio". To my surprise, I savoured and appreciated the song just as much as any other I heard at the show. RAYE has a lot of support from artists and producers within the country as well as internationally and I got visual confirmation as to why. It was the first time I arrived at a concert as press and left as a fan.

Manga is a great alternative or substitute to anime, especially if your weekly animes are on hiatus (or you're too impatient to wait). The majority of anime shows are based on/originate from Manga. The arcs and plots in anime deviate on occasion to keep fans on their toes but they usually follow what the Manga dictates. If you are reading Manga for the first time and need suggestions and tips, you have come to the right place. *Cue angelic choir* Although Manga is renowned as Japanese, many well-received 'Manga' are named differently depending on where the mastery is hailing from. Korea's 'Manhwa' market is equally as popular. The main differences between Manwha and Manga are the distinct art styles. The majority of Manga is in black & white, whereas a lot of Manwhas are webtoons, which are in colour (first-time readers are more likely to choose colour over black & white). This is the same for 'Manhua'. Originating from China, Manhua is more of an even split between traditional Manga styles and modern webtoons. 1. Manga is read from right to left Try to remember, it's important. There tends to be an order to reading the panels from right to left. It may be something you need to keep reminding yourself at first, but it becomes second nature very quickly. This tip mostly applies to Japanese manga, and not Chinese and Korean (which are usually read left to right). 2. Take time to enjoy the art The illustrations make the story far more than the dialogue does. Think of the speech as guidelines, rather than verbal communication. The art in manga is usually more detailed and graphic in comparison to anime and therefore deserves more credit, time and appreciation. Make sure you pay attention to the Japanese characters that appear in the panels that offer another dimension to the reading experience. 3. Buying manga is expensive, there are apps Manga is not cheap, in the slightest. Paperback versions are normally sold in volumes and buying numerous volumes together can amount to around £30 or more. Luckily, there are apps such as Manga Rock and Crunchyroll that can provide the latest chapters for free. The only downside is that, due to licensing problems, not all of the popular titles are featured. Investing in physical copies is still a good idea, especially when it comes to your favourites. 4. Be patient Anime and Manga are similar in many ways but they are ultimately two different artforms. It is imperative not to compare the two in terms of grasping your attention. A typical anime episode could possibly include 3-4 chapters of the manga it originates from, to keep the show fast-paced and 'interesting'. Manga explores arcs intricately so that the plot is not rushed. It may take a while to sink your teeth into a story, but when you do I can guarantee letting go will prove difficult. Lastly, before you delve into the abyss that is Manga- a vague insight into genres may help. Action and Adventure are two genres that seem to be symbiotic in the world of Manga. There are countless tales of those seeking items, knowledge and powers in far away lands and even though the foundations are the same, people will engage with the story every single time because of the variations in subgenres that give a unique narrative. For example, Seven Deadly Sins is a very action-packed Manga that uses mystery to its advantage. Romance is another interesting genre because it is layered. It is more of an umbrella term with smaller niche genres underneath it, but that is something you can explore for yourself. In general, it acts as a guilty pleasure that warms the heart. Most settings for romance Mangas are realistic or ones that the reader can relate to because love is a universal feeling. Magic and fantasy are thrown into the mix every so often to show how enchanting romance can be. Fruits Basket is a perfect example of this, with a blend of romance in a school setting and the reoccurring problem of a cursed family. Psychological Manga is supposed to make you feel on edge as if you are watching a thriller. Whether it is with a battle of intellect or witnessing mental, physical and emotional pain- this genre will make you think in advance, and then shock you when your prediction is false. Tokyo Ghoul is an approved and admired Manga that embodies the psychological genre to a tee. Trauma is the main focus throughout where pain is seen in a multitude of ways and on a spectrum too. Hopefully, you now have what you need to start your Manga journey. Remember there are a plethora of genres and art styles so no matter who you are and what you enjoy, there will be something out there for you. Good luck and enjoy. Manga suggestions Boku no Hero Academia Black Clover World Trigger Manwha suggestions Noblesse Red Storm Tower of God The Breaker Manhua suggestions 1/2 Prince Zui Wu Dao Song of the Long March

Anime characters almost always have at least one missing parent. If the tragic murder, untimely sickness or completely unexplained absence of said parent isn’t driving a plot it’s probably haunting the main and supporting characters throughout. The maternal mortality rate specifically is probably the foundation for our attachments to a lot of our characters; if the writer can make us witness enough tragedy in a characters life we are likely to root for them faster and harder. Who could possibly be better to eliminate than the most important person in their life? Perhaps this is engaging to some people but it has definitely had its disturbing moments. So here is a breakdown of three popular anime that have eradicated the primary caregiver and why it simply is not cute. Most of the mother’s deaths, or the beginning of the illness, begins before the anime has started and we’re thrown into the aftermath of the protagonists’ trauma. The Attack on Titan writer’s were very generous though; they start their story slightly before the life-changing event, so that we get to see just how perfect Eren Yaeger’s life was. The first episode’s entire aesthetic is clear skies, chirping birds and wind blowing through grass. Of course, we see how Eren is dissatisfied with his life and this directly linked to his mother’s style of mothering. He want’s to run off and lead a life of danger while his mother resolutely against it. Indeed, this make’s the blow a little more tragic when we watch a titan flop her already crushed body around like a cheese string and chomp her down like Sunday dinner. I, personally, was eating when I first watched this and I almost brought my food back up.  It does rile Eren up and make him the main character that we see in the series. However, his deep-set issues, like his hero complex, are rooted in her death. We constantly see Eren dive headfirst into dangerous situations, something his mother was buffering while she was alive, and everyone including Mikasa and Armin having to improve themselves to cover his flaws. The delusion is that Eren is a hero and that his mother’s violent death triggered this inside him but he’s really just an unflattering, toxic response to his childhood feelings of incompetency. There are few of these maternal situations that I considered to be heart-wrenching but Full Metal Alchemist: Brotherhood siblings, Ed and Al, almost had me for a second. After their mother’s illness kicks in full force the pair attempt to use Human Transmutation and Equivalent Exchange to bring their mother back from the dead. Initially, this is heart breaking because the two brothers are only five and four years old, respectively, when she passes and the hold on to the desire to bring her back until they have perfected the Equivalent Exchange theory (or so they think). The scene in the anime when they attempt to bring their mother back really hits home as it forces viewers to consider what the essence of a mother is: it cannot simply be the core elements of the human body and, whatever it is that is missing, cannot be reclaimed. The obsession manifests slightly different to Eren Yager’s and becomes destructive to the boys, instead of everyone around them. Al loses two limbs and Ed loses his entire body. Alchemy being the only thing that makes their mother smile since their father’s abandonment they ultimately begin to associate their mothers happiness with alchemy – and this is why they pursue it with so much vigour. Supposedly, for these two their healing and growth, in regards to their mothers death, begins at this point because they are forced to confront their grief and move on, having lost so much already. The last is our example for the unexplained absent mother in Hunter x Hunter (2011). Ging, Gon’s father, returns to Whale Island from a lengthy absence with Gon, his son. When questioned about the boy’s mother he simply says that they had separated. Gon differs from Eren, Ed and Al because he has Mito there, who assumes the maternal role, she even goes to the extent of getting full custody of him when Ging proves himself unfit. Perhaps Gon is the abandoned child character that other manga writers should aspire to include in their stories. It would have been completely plausible for Gon to have just as many issues as previously discussed characters. In fact, through the tapes his father left, Gon is given the opportunity to learn about his mother, but passes; fully accepting that Mito is his mum. This situation is unique because it doesn’t rely on Gon’s unease or lack of fulfilment to spark interest in who his biological mother is for viewers. Instead, we want to know because the question of her identity is posed during a time that many things are coming to light for Gon. Our interest is systematically peaked because Gon begins listening to the tapes and stops (frustratingly) just before we get to find out. The pursuit then becomes focused around Ging and rightfully so, seeing as he dropped his child off and left to live his best baby boy life. However, the mystery of Gon’s mother will continue to hang over the story, especially since the lack of fathering has been addressed. We’ll wait in anticipation.

“I’m no hero, I put my bra on one boob at a time like everyone else”. Bob's Burgers is animated sitcom featuring a monotone, spiritless dad, an ever effervescent, jazzy mom, and three starkly different kids. Firstly, there is the too-smart-for-her-own-good, cynical Louise, the whimsical, happy-go lucky Gene and last but definitely not least, the teenage gem that is Tina. While the other characters are rough archetypes that we have already seen in previous animations centered on a family, Tina’s character is pretty novel. Tina is painfully awkward. She likes horses, rainbows, and butts, and has a complicated relationship with zombies. When she is not pursuing her on and off love interest Jimmy Pesto Jr., you can find her hopelessly falling in love with almost anyone and sometimes anything (In Tina and the Real Ghost, she falls in love with a box with a ghost named Jeff in it). As if that’s not interesting enough, she also writes Erotic Friend Fiction that often features an assortment of the interests just mentioned. “I have a photographic butt memory”. The writers of the show could have easily made Tina’s unique character the punch-line of the show, but instead they chose to discernably portray the rollercoaster that is puberty, paying particular attention to how she embraces her sexuality. Not only is she shown to be daydreaming about her Erotic Friend Fiction several times, she even admits to having a “butt bank” (if you don’t get what this is, then maybe you’re too young to be watching Bob’s Burgers). But Tina’s sexuality and adoration of boys’ butts is never at the expense of her self-esteem. She is constantly championing for self-love and is regularly seen rooting for other girls in the show. Tina’s character is progressive in ways that are not apparent in many animated sitcoms. In allowing her to be as candid, the show has allowed us to see a dimension of every-day feminism that is not necessarily political. Also important is how the writers of the show (several of who are women) characterized her mother as an equally candid, ever-optimistic beacon of girl power, and her younger sister as a defying, rebellious, manic prodigy. Clearly, Tina’s feminism is in great company. “I’m a smart, strong, sensual woman”. In his article “Cartoons Aren’t For Kids,” Ope Oduwole mentioned the character development being a standout factor in Bob’s Burgers and no one exemplifies this better than Tina Belcher. Although she has always had a lot going for her, she is by far more confident and aware of her sauce in recent episodes. We have watched Tina go from waffling at the sight of her love interest Jimmy Pesto Jr., to courting two different dates to the school dance and then forcing them to contend for her love (she ends up alone at the end of the dance, but lets focus on what’s important here). From endlessly groaning at any slight inconvenience, to volunteering for positions of responsibility at school and at home, all while staying true to herself. Tina’s character is unapologetically weird, unapologetically uncomfortable, and its all unapologetically inspiring in the most ordinary way. She reminds us that not all heroes wear capes, some wear their bra one boob at a time. Tina is my absolute favorite character on the show, and she should be yours too.