Since being put together by Simon Cowell in the second season of X factor USA, I’ve been a massive fan of Fifth Harmony; not because I believed they were the best thing to ever happen but because I believed they were the best thing to ever happen. During the season former member Camila Cabello was quickly made the star of the group mainly because her voice was apparently the most unique (laughs in Dinah Jane & Lauren), which left the rest of the group very little wiggle room to showcase their talents as their careers took off. So much so that Dinah herself has admitted to being vocally left off of two of their hit singles entirely because her voice wasn’t considered ‘pop’ enough? Anyways needless to say that although I was and always will be a ride or die fan for those girls, I couldn’t help but be a little relieved when they disbanded because finally, they could each get their chance to shine. Especially Normani. Being the only black girl left her subject to a ridiculous amount of racist cyberbullying her time in the group. But even in all of this, it was clear to most people who knew of them how much of a star she was. She always (and I mean always) out danced and quite frankly out performed her band mates during their live shows and there was just something about her that screamed ‘it girl’ to me that I could never quite put my finger on. Her solo career began with a duet with Khalid that did amazingly on the charts which brought a lot of attention her way. She then followed this with a series of collaborations with huge industry names like Calvin Harris, Wizkid (you guys slept on checklist, this song is a banger), Sam Smith & 6LACK that although were all very good songs in my opinion, never really quite grabbed the attention of the masses the way Love Lies did & this had me worried. Then the music video for ‘Motivation’ dropped and I quickly realised that I had no reason to be concerned about her future in the industry. The song is a nostalgic pop & rnb blend that co-writer Ariana Grande is very well known for and the music video to put it simply is sensational. Drawing inspiration from the early 2000s pop & rnb queens Beyoncé, Ciara, Britney & many more while Normani dances the shitttttt out the choreography, all I could do is watch in awe. For the first time in so long, I was watching an actual music video. The ones that had the masses sitting in front of MTV and 106 & Park for hours just so we could learn the choreography to show our friends at school. I’m talking Missy Elliot level of music video entertainment, from start to finish and it’s such a relief to see a rising star genuinely put in effort into making her video interesting to look at. The only thing that could have made it any better is if Hype Williams himself directed it but Dave Meyers is a very close second for directorial expertise so I’m not mad at all. We get a twerk on the fence, a basketball bounced off her booty, three outfit changes, a dance in the rain AND shirtless men? I almost fainted. It’s catchy, sexy, fun and apparently this is an issue. You see the thing is people seem to have a problem with new school dark skin black women doing music outside of the typical ‘I’m burning sage to align my chakra’ neo-soul or the heart wrenching vocal gymnastics r&b. And if they’re doing neither of these things, then they obviously have to be a rapper. Don’t get me wrong I love Ari Lennox, Summer Walker and Megan Thee Stallion as much as all of you trust me. But Normani doesn’t have to be any of that. If we’re being honest, apart from Kelly Rowland’s small pop era, Kandi’s cute but short moment and Alexandra Burke’s 10 seconds, dark skin black women don’t get to be singing dancing pop singers without being looked down on by their own community. It has been an entire minute since I’ve seen a music video and song like this one with someone like Normani as the star. Black women don’t always have to sing deep vocal renditions about the newest way a man has done them wrong. They can just sing. The few that have been afforded the room to do so recently have been of a specific complexion & of course we should support them all the same but Normani isn’t ambiguous in the way the media seems to find just about palatable. She is black, she is extremely talented and she’s the world’s next big pop star. Get used to it.

Jacques Webster, also known as Travis Scott, dropped a documentary at the end of August, giving us insight into Travis the artist, son and father. The 70-minute film was released on Netflix, meaning it wasn't just accessible to his fans but to anyone who was willing to press play. To those who had been following his musical journey, it was confirmation of the generational rapper he had become. And to those who either doubted or didn't know much about him, the message clearly read, "and if you don't know, now you know [redacted]". One thing White Trash Tyler (yes, that is the name he chose to call himself) did when directing Look Mom I Can Fly was humanise Travis. The Travis we are used to seeing is more of an artistic symbol. We rarely see his face or even hear him converse in interviews. The viewers got to observe 'Jack' in a more intimate setting, as the man behind the art instead of the art itself. A moment that comes to mind is his reactions to his overall Grammy experience. When us ordinary people think award shows, we usually think about the winner, who they're wearing and their acceptance speech. Rarely do we think about how the losers feel. Travis' response to not winning Rap Album of the Year, which he should have won, was very human. Fleeing the scene cursing, he described himself as "lost" for a period of time after the ceremony. Although it's not the rapper we're used to, it's a rapper we can relate to. Scenes like these gave context and background to his music. Astroworld was simply just an album to me before watching, an incredible one might I add. But work ethic and motivations made listening to the songs like R.I.P. Screw, No Bystanders and Butterfly Effect that bit more special. The theme park had personal memories attached to it and it acted as a muse and inspiration to Travis. To quote him directly, "When they took Astroworld, they took a part of my heart as well". The Grammy-nominated project transcended music. Whether you like Travis Scott's work or not, his cultural impact is undeniable, and the documentary all but proves it. From the minute it starts, there are people declaring their love for his music and in particular- the way he performs. Many claimed that he gave them a sense of community where others stated that he saved their lives. These statements are eerily similar to what fans would say about some of the greatest artists of our generation. Drake, Beyoncé... Is Travis Scott among those on the list? Even if you do not consider him to be, the conversation has to be had off of accolades alone. There is a segment in Look Mom I Can Fly dedicated to Scott's Halftime Superbowl performance. Although he received a lot of backlash for doing the show in a politically charged climate, when looked at objectively - it's hard to ignore the gravitas of the opportunity. There is a scene that puts it all in perspective. Travis Scott is talking to one of the organisers about working with the likes of Prince and Beyoncé on their sets for their shows. The fact he is now on the same list as them counts for a lot, and it is at an earlier stage in his career with a lot of growth left to happen. His story stood out amongst other music documentaries I’ve seen. partly due to the cinematography and the episodic jumps between his childhood, early stages of his career and the present. Each saga was tied together by the fact that the people around him saw star quality and potential in him. Like his friend rightly said, it was always known... Travis just had to prove it to the rest of the world. Look Mom I Can Fly came to an end in the most optimistic way possible- looking towards a promising and boundless future. If there is one thing to take away from the movie, you can either join the Ragers or continue to deny his talent.

This may have been my fourth time at the festival but every year I attend, I’m in awe. We go to see our favourite artists, discover new ones, and meet people who have travelled from other cities – an all-round, feel-good festival! Day 1 had a strong line up of DJ’s and singers that had me feeling nostalgic; Craig David, Ms Dynamite and Basement Jaxx, artists who I first discovered when I was younger. First thing I did when I got inside the festival was run straight to the glitter face paint stall then headed to the main stage. I’d made it in time for Tinie Tempah’s impressive headline set, where he played all his classics, such as 'Passout', 'Earthquake' and some more recent tracks. Tinie Tempah was a natural showman on the stage, having us all chant his lyrics word-for-word. Switching from stage to stage, I made sure I was in the midst of the crowd just before the special guest, Idris Elba came out. And of course, half of the festival had the same idea as the tent was jam-packed! The actor slash DJ has toured across the country, playing at multiple events so I was looking forward to his hour-long set at the Ministry of Sound stage, but it was sadly anticlimactic. The transitions felt a bit hurried and all over the place, leaving me a little disappointed. However, it wasn’t all bad as he played a few tunes we all loved, dashed a bit of garage and did his popular ‘Boasty’ song. After his headline performance in 2015, SW4 welcomed Dutch DJ, Martin Garrix, back as he headlined Saturday and closed the night with an explosive, fireworks-fuelled show, leaving everyone on a high, excited for the following day. Wearing my sequined top, I fitted in with the usual festival attire - ladies wearing glitter and neon outfits, whilst lads were in shades and stripy shirts, all ready for round 2. As it was my first time doing a whole weekender, I didn’t think day 2 could be even more impressive!On the main stage was Plan B, who gave an energetic performance, getting all us hyped especially during his protest song ‘iLL Manors’. This was followed by DJ, ShyFX, who brought out a surprise ensemble crew; Lily Allen, Ghetts and UK Apache. Over at the Capital Xtra tent, where performers like Chip, Ms Banks and Wretch 32 played, I managed to catch the last half of Wiley’s set and wish I’d been there from the start! Wiley took us back in time, to the late noughties, incorporating many of the BBK members’ songs into the performance. Playing his solo singles as well as collaborations, the Grime artist had the whole arena shouting along to the quintessential BBK song, ‘Too Many Man’. Although I went alone, there’s always friendly vibes at festivals so I didn’t feel lonely. I bumped into old friends and made new ones in the crowd, at the bar, even in the loos! I ended up staying with a group who led me near the front of the main stage – where all the action was. TQD’s DJ went along the front row, giving out merchandised bandanas while Andy C’s hypeman hydrated the crowd by throwing water bottles. So essentially, get to the front if you want freebies! Wilkinson stole the show for me with his live DJ set. He was accompanied by a string quartet, drummers and vocalists, who put on an amazing show together. In addition to the spectacular line up, SW4 made sure attendees were constantly entertained throughout; fairground rides, numerous food stalls and a very plush VIP area with dancing bartenders! The night came to an end as Australian drum and bass band, Pendulum, took to the stage. With exciting visuals, their long-awaited performance which they named ‘Trinity’ was met with a lot of fan love. Lasers, smoke, flames, pyrotechnics – you name it, Pendulum had it! It was also very touching that the trio played ‘Firestarter’ by The Prodigy, in honour of the late, Keith Flint. Pendulum closed the show with their hit song, ‘Watercolour’ and a ton of fireworks in the air, celebrating what was an unforgettable weekend of music. Whether you’re a teen or in your mid-50s, whether you know the line up or not - South West Four has proved to be the most eventful, inclusive and atmospheric, British festival I’ve attended. Despite cans of red stripe constantly being tossed in the air, multiple mosh pits and a few bruises on my legs, I’ll certainly be back again next summer.

‘Faded’ represents a meeting point of two worlds both artistically and socially as the creative brain child of singer-songwriter Lyves and film director Roxy Rezvany. The video forms part of the singer’s project 8 room which aims to explore the complexity of human nature as conveyed through a variety of intimate stories. Roxy is a British filmmaker of Iranian-Malaysian-Chinese descent, recognised by The Dots as a Creative Trailblazer of 2018, and was commissioned by Lyves to visually represent the emotions explored on the song. The music video tells the story of a young Iranian immigrant living in 1970s London who becomes deeply entwined in a romantic relationship as opiate to realities of life. The tale is beautifully narrated by Lyves’ enchanting vocals and colourful lyrism. Inspired by the eventual demise of a relationship, the visuals follow the protagonists denial as everything slowly begins to fall apart. Roxy explains, “the idea was to explore a side to the era that often evades depiction in British popular culture: the cultural complexity of interracial relationships, the isolation of pioneering immigrants without a community, and the struggle maintaining an idealism in the face of adversity that is essential to helping you chase your dreams.” Director Roxy attributes her work with cinematographer Beatriz Sastre as one of the key drivers of the music videos success, combining Super 8 film footage and digital footage shot with the Arri Alexa mini to produce the desired throwback effect. “Beatriz and I worked towards a colour palette that we felt would evoke the era, and colourist Tim Smith did a lot with the grade to evoke the 1970s building out from there.” Moving from colour schemes to character portrayals it is evident that the details often considered to be minute truly matter to Rezvany. “The styling team,Georgie Roberton on wardrobe, Georgie St John James on hair, and Grace Ellington on makeup, did a lot of work from references we had pulled of 70s styling to bring the characters to life”. However whilst trying to capture the essence of the era the crew took care to avoid a stereotypical depiction of the characters. A dose of social realism shrouded in the magic of a budding romance, the cinematic brilliance of the video was found in the way that it flickered between these contrasting perspectives. Extending beyond it’s filmic effects, ‘Faded’ contained numerous visual references which were central to its 70s setting, one of the most notable being the launderette. “The launderette is where 'Sherry' the lead character works”, the Roxy shares. “It was also a subtle homage to the British film 'My Beautiful Launderette', which is one of the few British films I feel portrays three dimensional and realistic 'immigrant' families and characters.” In light of the B word nobody wants to mention, there is something to be said about the importance of the story at time where the social attitude within UK seems be fuelled by hostility largely aimed at its immigrant population. “I think that in an era of growing resentment towards immigrants, there are many people with 'cultural amnesia' (to quote Stuart Hall) who seem to have forgotten the contribution of immigrants to the UK, or even worse, live in denial of the colonial heritage that encouraged many to migrate to the UK.” Brining back an element of humanity into the conversation ‘Faded’ captures those from other cultures experiencing the emotional rollercoaster of love in a very authentic way, with a view of bringing the gap in the on-screen portrayal of the immigrant population. “My hope with this story is that it'll encourage people to learn more about the stories that don't necessarily get told in the mainstream, but are an equal part of British history and society.”

Killing Eve, a 7-episode drama series released in 2018, is one of the best shows I have seen in a long time. The show follows Villanelle, a beautiful and insane assassin and her counterpart- Eve that works as a profiler for MI6. I was insanely glad to see Cristina Yang …I mean Sandra Oh, grace our screens again. After I stopped watching Grey’s Anatomy, I looked forward to when I would next see this amazing actress and she did not disappoint in this show at all. Villanelle and Eve are a dynamic duo, two women who at first glance seem like polar opposites. Villanelle viciously and beautifully murders a man in the first episode; meanwhile, Eve is stuck at an office, complaining about her job, her boss, jokes with her coworkers and in one hilarious scene decides she is too tired to have sex with her husband after first suggesting it. While Villanelle is living a glamorous and dangerous life all over Europe, Eve is stuck in London frustrated with the drudgery of her life, a job that she has no passion for and endures an uneasy, yet affectionate, relationship with her husband. Soon after, Eve shows her true colours as an extremely smart and daring investigator when she has to hunt down Villanelle. Simultaneously, Villanelle strips away her veneer of a cold and calculating albeit hilarious assassin. Killing Eve creates such compelling female characters who, for the first time in my personal TV history, exist outside of the male gaze. Eve and Villanelle along with the two other reoccurring female characters, Carolyn and Elena, are not tied down by stereotype. Eve is clumsy and tactless at times while also being composed and sexy. Villanelle is dangerous, erratic yet capable of feeling a deep need for love and acceptance. Carolyn and Elena are Eve’s boss and coworker respectively and both of them possess diverse character traits. The women in the show are highlighted in every episode not only because they are the main cast but because the writing for the show makes their evolution a central plot. Often in TV shows, we see female characters that are doomed to repeat the same mistakes because of the narrow set of traits they are given. The women are often type cast and any significant change or insight to their personalities only comes after long periods of time. Killing Eve over the span of 7 episodes constantly shifts the narrative and pulls a new plot from under us- always keeping us on our toes. At the same time it makes it a point to shine a spotlight on the main characters reiterating the fact that these characters are complicated and stumbling through it all, that each obstacle is an opportunity to glimpse into the unique inner world of the person. All the male characters play supporting roles in the explosive relationship between Villanelle and Eve, Eve’s husband Niko, is left frustrated and hurt when Eve decides to pursue her passion of solving crime and catch Villanelle. Bill her coworker and ex-boss becomes a support system for Eve and helps her take charge. Villanelle’s handler Konstantin who at first is a main part of her life is torn from his place after events take a dramatic turn. Killing Eve is beautifully written and produced. The way the storyline unfolds and the intimacy that is portrayed on screen is an absolute joy to watch. In addition, the locations that the scenes are filmed in are so visually pleasing. The second season deserves all the hype and its highly anticipated status.

Olivia Wilde’s directorial debut has a fresh take on the high-school coming of age film without losing the core elements we love about the genre. The students are still categorised into hierarchical groups albeit not as definitively as in iconic films like Mean Girls or Easy A etc. but you’ve still got the cool kids and the not so cool kids. The overachieving duo Molly (Beanie Feldstein) and queer-feminist Amy (Kaitlyn Denver) are part of the not so cool kids. But for the most part, they’re happy with their high-school life choices that have gotten them into Yale (Molly), and into a summer program to help women in Botswana make their own tampons (Amy). As far as they’re concerned, the rest of the student body would struggle through life as a consequence of their irresponsible choices. Or so they thought. On the eve of their graduation, Molly bursts out of a toilet cubicle to deliver a scathing comeback to her peers whom she overheard making fun of her try-hard personality. When she snobbishly brags about her seemingly brighter future, she is stunned to find out that their post-graduation plans are just as impressive as hers. Unlike the cool kids we are used to seeing in other high school movies, these ones are popular and smart; a bit reckless and ambitious. This realization completely flips Molly’s reality over its head when she realizes that she too could have worked hard and played hard; that all the early-nights and 0 partying was not necessary and that the cool kids would indeed be okay. Enter the main plot of the movie: a one-night long party storyline (think Project X-without the exaggerated use of hard drugs and Jackass-esque stunts) with Molly and Amy trying to prove that they too can be smart and fun. The endearing friendship between Molly and Amy serves as the backbone of the movie. Their dynamic resembling contemporary TV female friendships like Broad City’s Ilanna and Abi, with two distinct personalities (usually a more assertive one and the other with a quieter confidence) whose common ground is their fierce love for each other. As the two embark on a night of partying to prove to themselves as well as their classmates that they are indeed cool kids, we get to see just how special their friendship is. It is not that female friendships are new to TV and Film, they’re just hardly ever the point. There is something about stories that not only center them, but hail them as equally important (if not more) to romantic relationships that still feels revolutionary in 2019. It is not hyperbolic to say that many of us wouldn’t have survived high-school without the friendships we fostered. And for many of us these friendships continue to keep us sane through post graduation life. Now more than ever, I am totally aware of the ways my girlfriends have contributed to my overall wellbeing and just how meaningful seemingly silly things like the drunk texts I’ve sent and received with misspelt variations of “I love you” are. But the importance we attribute to them in real life is rarely translated well (if at all) on our screens; we are used to seeing a quirky sidekick to a lead who centers her career or a romantic relationship, rather than equally capable counterparts braving life side by side. Through Molly and Amy, Booksmart manage to paint a pretty accurate picture of what female friendship looks like. Yes, their relationship edges on co-dependency -an issue they are forced to address with an argument mid-party- but for the most part the pair seem to have successfully built a safe haven for each other amid the high-school madness. It also helps that the actresses’ chemistry is undeniable making their friendship absolutely believable. Although the skeletal concept of the movie toys with the idea of two teenage girls’ high-school coming of age experience, the script is far from the uncomfortable, borderline painful cliché we often expect from this genre. The duo is actually interesting, they have aspirations, they are (mostly) sure of themselves, which makes the humor in their dialogue standout on its own as opposed to constantly being tethered to teenage angst. They talk about sex freely, with just enough awkwardness to make it relatable but not enough to be cringe-worthy. The movie’s comfort with Amy’s queerness is particularly refreshing; making it as exciting and confusing as her straight friend’s sexual awakening, rather than this otherworldly phenomenon it is often regarded as. For all the things that were done greatly in this movie, I cannot help but feel like the overall execution of some of the characters felt overdone and underdone at the same time. Although Molly and Amy are the clear protagonists, the other characters are at times made to feel important enough for us to pay attention to but not enough for their character to be properly explored. Take Jared for instance, the rich kid who hosts the first party that Molly and Amy attend. As with the other characters we soon find out that he too is desperate to fit in and tries to do so by buying his peers’ acceptance. We also find out that he has all these interests like airplanes and theatre and furthermore has feelings Molly. But these facts are revealed so trivially it is hard to take his character seriously enough to empathize. And then there was Gigi, the typical party girl who experimented with drugs and was Harvard bound. It is pretty obvious that her character was supposed to be funny first and foremost-a very on the nose type of humor which was needlessly over the top considering how well the subtler forms of humor worked throughout the movie. It is also obvious that she has “layers” as alluded to by her close friend Jared who speaks highly of her, but this is hardly believable given the fact that she was merely used as a comedic prop for the entirety of the film. It is also safe to say that the movie could have done without the very (and I cannot stress this enough), unnecessary subplot of the teacher hooking up with a high-school kid. And lastly, Amy did not have to vomit on her first sexual encounter. These two elements had absolutely no redeeming value. Regardless of the not so finer parts of the movie, for the most part, Wilde does a decent job of framing the high-school movie as progressive without turning it into a twitter thread in visual form. She offers a fresh take on the genre’s tropes while centering female friendships, making Booksmart pretty impressive as far as directorial debuts go.

Describing her work as a "penned prescription for identity", Oriana Jemide offers remedy through her poetry. The 31-poem compilation ventures through questions and answers on identity. The book starts with a message, that states exactly who will benefit from her words, "For anyone who feels stuck, lost, burdened by life's many trials. I hope you find a glimmer of hope as you flick through the pages of this book. May you find truths you can hold onto truths that affirm you, truths that carry you for days to come". At first, I saw the dedication as a sentiment that you see at the beginning of any piece of literature. The link between identity and "truth" was made very quickly through the first poem, Eden. It was short, sweet and blunt in a refreshing tone- it was a perfect opening to summarise what's to come whilst staying true to the overall theme. It's safe to say that reading When will you let yourself see? came at a time where introspection and sense of self-proved difficult. It made me appreciate how vulnerable Jemide made herself in order to get her point across. It seems as if her transparency and experiences are highlighted throughout, but shine especially bright in How To Be Before God and Sins of the Father [against daughters]. It's clear to see that the poet uses her faith as a muse but not in a cliché or expected way. Most writing that explores religion will look at it from a critical standpoint in some way, shape or form. You could say Oriana uses faith as a driving point and inspiration rather than a topic of scrutiny. For example, there is a real honesty in the syntax of How To Be Before God. The way she expresses herself can only come from first-hand experience. It reads like detailed instructions. However, the intricacy is not in the instructions themselves but the way acting them out would make a person feel. Surely prayer is different for everyone, so where is the vivid imagery coming from? It's important to talk about the last entry, titled Journey, and the way in which it closes the book. It may very well be my favourite because the interpretation can vary depending on the reader. "Journey" can be viewed literally, figuratively, spiritually etc. In the last lines, it refers back to Eden (the first poem) as the beginning and its proof of the thought and complexity that went into piecing the poetry together. Oriana also wrote a personal message for me on the front cover. It read: "As you delve into this book, I hope you find a thing or two that brings you healing and renews your mind". From the first poem to the last, I found comfort in her words- making it a little easier to assess my own identity.

The Ends Festival displayed 3 days of a delightful spread of music. It presented an intriguing blend of artists that play with so many different sounds inspired by countless genres. Hosted for the first time in, the Croydon-bound Ends Festival managed to put on a safe and great event that offered a lovely insight to the range of music appreciated by the festival goers. Legendary acts like Nas, Wizkid and Damian Marley ended the days in honour of the first Ends Festival. They were accompanied by a variety of homegrown talent and artists that fit the festival's bill. International acts like Damian, Masego, Burna Boy, De La Soul, and a heart-warming homage to the late legend Nipsey Hussle, displayed an awesome range of musical talent. It was fascinating to see the crowd, sometimes stopping to ask who they saw or wanted to see, and the range of artists they admired that were present. Friday attracted a rap engrossed crowd for De La Soul, Nas, Ghetts and more. Saturday had a large wave of people obstructing the Main stage for Afrobeats with Wizkid headlining and Wande Coal and Teni featuring over the day. Sunday had a massive turnout for Burna Boy, with Dave making a special appearance for Location, Damian Marley and J Balvin. Though between grand and established acts, many upcoming artists had the opportunity to showcase their talent to the ends. The name Ends Festival was fitting. Many of the artists being from Croydon or surrounding areas found themselves performing locally for the first time. It was tremendous to witness artists we have seen grow into full-fledged performers take their place on a festival stage. Some of my favourite moments were having discussions on performances, seeing people bewildered by artists they have never heard. At festivals you get to witness the whole approach to performance, which adds to an artists' musicality. The three stages; the Main, Footasylum and Future stage, each presented a set of artists over the course of days. Despite the main attractions it was exciting to see the support for local artists. The likes of Jords who performed his latest single Glide, Nadia Rose and her young fans sprinting across the park to catch her set, the vibe and waves of A2 and the fans that entertained the singalong, as well as the enchanting voice of Jaz Karis. It flowed well as attendees, like myself, managed to plan and attend sets between each other to champion the artists we wanted to see. Though one performance I definitely could not miss was Badside’s, a local collective from Thorton Heath and South Norwood, that performed last on the Future stage right before Nas. Badside are a multifaceted collective of artists, including Ellz (@ellzBS), Proton (@ProtonBS) and Gray (@GrayBS_). They all have the ability to write songs and produce intertwining rap, singing and occasionally trap within the lyrics. The group enjoy playing with an alluring variety of musical styles. Each individually presenting a different approach to music and very much their own artists. Though coming together to serve a chemistry they call Badside. The collective have been working in or around music for almost a decade. A lot of groups can overshadow each other or make music that sounds scarily like today's thriving sounds. Though a collective that invests within each other musically is rare, and over the last couple years Badside have done just that. Each of the artists have been consistent with their own styles, preferring to stick to what they know rather than accustom taste to times. They are unique insofar as they champion their own sounds; each having their own performances at a range of venues. I have seen them individually perform on several occasions but jumped at the chance to see Badside in whole for a full set. Ellz is an effortless rapper and exemplified this recently with his tape last year, Bad Business. The success of the tape saw him join Hardy Caprio on his sold out tour in Dublin, Nottingham and Glasgow, where he has performed a spread of songs from his tape including Big Slime, his most infectious song on the tape, that certainly shuts down everywhere he goes as it did at Ends. His video Never Scared, also from the Bad Business tape, epitomizes his ease with rapping – a rabid flow and light delivery showing his skill. Like most of EllzBS' music he displays lyrical prowess that keeps you fixed and building a picture of the puzzle he is painting. Ellz is a mark of the ends, his content speaks of the fearlessness with the identity he has built and secured himself while depicting the characters and relationships he sees in the people around it. Today Ellz tours and performs, treating crowds to unreleased gems like Lifestyle, a tune in which he and Gray really capture the livelihood of where they are from and the situations of a young musical man. He released his latest tape, Bad Attitude, on 16th June. On the flipside, Gray is a world away sound-wise, which adds to the spread of Badside’s versatility. Blending singing, rap and bars riddled with the lifestyle of a trap, Gray evokes a different kind of emotion. He is smooth and soulful. He has performed at a spread of venues on nights tailored to the variety of sounds the UK has to offer. Such as the Old Blue Last, Rye Wax, Notting Hill Arts Festival, and recently The Set London where he performed Deposition for the first time, a song that has racked over 130,000 listens on Spotify. He performs next on the 18th June at Boiler Room and is always on a line-up full of intriguing artists. His music is very thoughtful and captivating as it sends you through his own stream of consciousness and reflections of the lifestyle he lives. The approach to song writing Gray has invites you to reminisce, as if he is telling your own story, while grounding you into newer imagery of how he interprets it. With songs performed on the day such as Life Unfolds, which has a well-worked video capturing his image, Lifestyle with Ellz and No Boo with Proton. Though Gray is not as sweet as he sounds, his tape Persevere released earlier this year hints at sounds he admires and implements into his music. You can see the unique blend of RNB, soul and jazz influences in his work. The mastery of Badside’s sound, which feels much fuller and more professional is thanks to Proton's production and expertise as a sound engineer. Though his music catalogue and history are vast, (with his Grime days in his past) his years of a rap and singing discography compliment his musical interest and scope of ideas. Proton released his tape Unloading last year, which showcased the ease within his music. Songs like Woah, for instance show that Proton is really good at creating pockets to flow into. The tape is full of grand production, and a much clearer listen than some of the most famous artists' projects. His music is uplifting and feels like a composition. A lot goes into the production that does not overshadow his words, and like Gray, though with a more upbeat singing voice, he can catch a note. Like Ellz he is an incredible rapper. The whole package of Proton’s work is great to listen to, it sounds cared for and hardly rushed, an encouraging way to feel about someone’s music. It leaves you wanting more. Proton has worked with a fantastic spread of artists as an artist himself and obviously through the production side of things, with collaboration with Mura Masa, featuring on Kamakaze’s song Coldiene, which has over 700,000 listens on Spotify. Proton has also broken into TV show soundtracks, working with TheUnder on Out Control for a show, Escape at the Dannemora – a very good HBO production. Proton is the mark of a multidimensional artist and he has utilised his skill set as a career and has a stunning musical resume. The three from Badside's collective greatness was shown at the Ends Festival. With the passion in their sound evident at every show, with unreleased gems laying in wait, Badside certainly made an impression on the day. There is much more to come that will really bring to fruition Badside’s talent. Like many of the artists the festival had the privilege of showcasing, it is important to highlight and recognise the brilliance that stems from the ends.

Dubbed “the hardest working man in music” by FADER in 2018, it is hard to remember a time when a Ty Dolla $ign feature was not regarded a staple in the industry. Arguably one of the most versatile artists our generation has the pleasure of enjoying, Ty’s musicality is seen not only in his vocals but also in his pen, his ability to play multiple instruments, as well as dabbling in production. The double threat singer-rapper has an impressive vocal range, which is uniquely laced with a subtle grit that sets him apart from many other singers. Whether it’s a summer bop, a deep cut or a pop anthem, a Ty Dolla $ign is feature is guaranteed to be the ingredient your song needs to hit the charts. With a few weeks left until summer is here and we are showered with countless songs tagged with a ‘featuring Ty Dolla $ign,’ I decided to create a playlist with my top10 features from the cali native. 1. 3Way- Teyana Taylor feat. Ty Dolla $ign Neither artist is shying away from explicit lyrics in this seductive track. Ty Dolla's guest verse at the very end carries on the sexually confident tone Teyana sets from the very beginning, while adding a masculine touch. 2. Something New- Wiz Khalifa feat. Ty Dolla $ign In this track, Ty Dolla's vocals flirt with the laid-back vibe of the song making it the perfect addition to a song perfect for a cruise on a hot summer's evening. 3. After Dark- Drake feat. Static Major, Ty Dolla $ign Easily one of the best from Scorpion's part B, Ty Dolla's backing vocals as well as verse blend in perfectly with Drake's and the late Static Major's to create a lustful jam only fit to be played... Well, after dark. 4. Lil Baby- DJ Mustard feat. Ty Dolla $ign I'm convinced Mustard created this beat especially for Ty Dolla $ign. It has that powerful kick you need for a club banger, but also brags a subtle sultriness as it slows down to its catchy hook- the perfect match for Ty Dolla's lustrous but grainy voice. 5. Nobody Has to Know- Kranium feat. Ty Dolla $ign Ty Dolla shows off his versatility in this dancehall hit single that helped put the main artist Kranium on the international map. 6. Outkast- Belly feat. Ty Dolla $ign In this track Ty Dolla successfully rides a rather busy beat, invoking a trap like rhythm in this feature. The duality in his voice (softness and grit) is very clear in this catchy chorus. 7. Real Friends- Kanye feat. Ty Dolla $ign The minimal production in this track needed vocals that would not only match it in vulnerability but stand out against Kanye's assertive delivery. Its safe to say Ty Dolla $ign did not disappoint. 8. Move to L.A.- Tyga feat. Ty Dolla $ign A personal favorite, Tyga and Ty are a match made in summer bops heaven in this track. Ty Dolla sounds incredibly sexy in this simple yet persuasive What You Want sample (by Mase feat. Total). 9. Lies- ScHoolboy Q feat. Ty Dolla $ign, YG In one of the most exciting moments in the recently released CrasH Talk, Ty Dolla gets to flaunt his singing prowess in a track with two rappers. 10. The Distance- Mariah Carey feat. Ty Dolla $ign Fewer things mean more than the stamp of approval that is securing a feature on an album of the incomparable Mariah Carey. Although Ty Dolla had to keep it PG on this one, he gave the song a fresh and playful vibe with a charming verse accompanied with trap ad-libs we've grown familiar to.

Harry Crane is North West London's up and coming gem. With a sound that isn't being properly represented in his area, Crane stands out by fusing rap with jazzy instrumentals and a Lo-Fi tinge. His latest project, Lifestyle, was a well-received body of work. It showed off his talents in a way that we could appreciate the stage Harry is at musically; with the understanding that he has a lot of room to grow as an artist. Cue Run it: the song that arguably solidified his unique style and his position as a rapper. Although Run it has a slightly different vibe from Lifestyle (with a more uptempo jazz and bass influence) it is still reflective of what Harry has to offer. The MichelinShin-produced track brings together all the elements that complement Crane's flow and delivery, with a detailed beat that lets you know exactly who was behind it. It could be said that the instrumental brought the best out of Crane's voice. His playful and witty lyricism shines through on Run it with bars like, "Bring a sweet one to the members, that's why they call it the bro code" The music video rounds up what is a well put together track. The visuals give an authentic feel to who this 20-year-old performer really is: a guy who loves his circle and the area he's from. It remains a simple and genuine video that allows the flair of the song to take the front seat. With all he brings to the rap scene, Harry Crane is definitely one to keep your eyes on.

I’m only writing this article as an excuse to listen to this album on a loop. As if I wasn’t going to do that anyway. I first encountered Ari Lennox while she was opening for J. Cole on his 4 Your Eyez Only tour in November 2017. I don’t remember paying a whole lot of attention as she introduced herself (aside from noticing how blatantly attractive she was) until she started singing. I was completely transfixed for the entirety of her set even though I didn’t know a single song and I truly haven’t been able to look away since. Everything about this project sits right in the heart of all that is beautiful about jazz and blues. From the first trumpet note on its opening track Chicago Boy to Masego’s silky saxophone solos on Up Late, this album serves as an authentic homage to the genre. However, with how instrumental jazz can often get, the project ran the risk of not being relatable to the music scene at the moment. And yet, with Facetime blaring through the walls of my room as I type this, I’m certain that I haven’t felt this related to in a very long time. Ari spends all 44 minutes of the LP saying everything she felt, when she felt like saying it, how she felt like saying it and all I could do was grin the entire time. Around 5 out of the 12 songs on the album either start or finish with a short but very ‘Ari-like’ rant on seemingly unrelated topics that range from needing to check if her garbanzo beans are cooked to realising how much she needs human interaction over materialistic things. These random frustration-filled outbursts are something her social media followers have come to know and love her for and as someone who has sat through one too many, they honestly made me feel like I was in the studio with her passing the blunt. At the end of Chicago Boy, a beautiful vocal entry to the project where she explains wanting a quickie before she’s got to hoe go catch a flight, she essentially dedicates the album to (black) women by telling all the niggas to get out because “it’s about to get disgusting.” The playful intimacy that runs throughout the 12 tracks serve as a way of making you feel like you’re chilling at a close friend’s new crib having one of those conversations that make absolutely no sense and all the sense in the world at the same time. Before listening to this project, if someone had told me that almost every song would be as good as the album’s second single and title Shea Butter Baby or even its third single Up Late, I would have chuckled. As far as I’m concerned, both those songs are so good they don’t even feel real sometimes. But somehow every track manages to create its own individual experience. Although no song can technically be described as completely upbeat, BMO and New Apartment and are so carefree and breezy in tone- making you feel so light that you’ve got no choice but to get up and dance. Songs like Broke with JID, who demolished his verse effortlessly, have you bouncing your head rather forcefully for a track made up of some drums and a banjo(?) because the beat is just so fucking hard. And somehow, these hip-hop influenced tracks seamlessly blend into the soulful guitar or blues ballads dotted throughout the project. This album is completely littered with stunning vocal performances like Pop or Facetime or Speak to Me or any of the other 9 songs if we’re being frank. Every single track belongs to the previous as much as the next and I truly haven’t felt this strongly about a musical body of work since SZA blessed us with CTRL back in 2017; an album that has spent over 100 weeks on the Billboard 200 charts might I add. And if you know me, you know how much of a big statement that is for me to make. But I mean it. Shea Butter Baby is so beautifully enchanting from lyricism and vocal performances right the way to curation without sounding pretentious or overdone in the slightest. Not only is this the album of the month, but it’s also the best album to drop in 2019 so far. And if I’m being honest, I don’t think it’s going to be topped.

Someone Great, Netflix’s latest original rom-com boasts of a stellar cast with the likes of Jane the Virgin’s Gina Rodrigez, Atlanta’s Lakeith Stanfeild, DeWanda Wise from She’s Gotta Have it and Britney Snow that we know and love from Pitch Perfect. From this lineup, I didn’t know what to expect from the film, a star-studded dud perhaps? Rom-coms have not fared well in the socially conscious world we live in today, as a die-hard lover of romantic comedies I know I have to set aside all my beliefs to enjoy the likes of Bridget Jones Diary and Pretty Woman. Which was why Someone Great was such a relief! A well-written romantic comedy for the emotionally drained, sexually liberated 20-somethings of today. This movie is far from Netflix’s generic rom-com and manages to sidestep most of the trappings of what we expect from a romantic film. Challenging our notions of what a relationship looks like, a wake-up call for all of us who are struggling with our identity within our relationships, our friendships and our career’s. The world around us champions a new dawn of personal relationships and it is refreshing to see this translated into film. Someone Great is a how-to for the lovers of today, a tutorial on how we can make relationships just a little bit easier on ourselves and those we love. In the beautiful neon-y haze of New York City, we are introduced to Jenny and Nate, a cool, fun, young couple in the honeymoon phase of their relationship. On their way back from Neon Classic - a music festival Jenny lovingly carries Nate into a bar where she meets her best friends Erin and Blair - two equally beautiful and confident characters (props to Netflix for writing fully fleshed out secondary characters). There in the warm embrace of a cozy bar, among friends, surrounded by a feverish love for life a snapshot is taken of Jenny and Nate; evidence of their new and budding romance. This is followed by a montage of the next 9 years of their relationship, a chronicle of a modern love story mapped out through iMessages, Instagram posts, Tweets, and anniversary playlists. At the end of which, Nate and Jenny break-up. This is the first indication that this movie isn’t your typical rom-com, we don’t see their relationship grow in real time, we don’t fall in love with their love. Instead, we see the progression in a fleeting montage. As unexpected as it is Someone Great isn’t about finding love or keeping it; it's about learning to grow and build yourself throughout it all. Amidst the memories and the messages of “I love you” followed by the couple’s customary response - “always" Jenny and Nate grow into their current 29-year-old selves. They graduate and carve out their path in life through their relationships and careers, in particular, Jenny's promotion to a position in a new city. “I can’t believe we broke up” she texts Nate followed by an “I love you”, to which he types out a message, 3 hopeful dots appearing on her screen followed by silence. The rest of the film follows the three best friends as they struggle drunk, high and fabulously across New York City to find tickets to Neon Classic - the final concert before Jenny moves away from the city that has been her home. Along the way, Jenny is confronted by flashbacks of her time with Nate - each scene beautifully lit with dreamy neon lights. Neon Classic not only represents the music festival that brought the pair together but is symbolic of their relationship - a bright, beautiful light in an otherwise dark uncertain period of their lives. While most romance film gloss over the heartbreak period Someone Great forces us to live through the good times with Jenny, the first I love you, the first night, the joy of intimacy and connection with another human – knowing that this period is now over. As Jenny manically tries to make it through the first day of her break-up she is forced to face the memories of lost love - triggered by music, places, words, and actions. We get to know Nate through her experiences with him. The audience never engages with Nate outside of the memories that Jenny has of him, this is significant because after a breakup we lose access to the person we were supposed to have an all-access pass to, we are left with only with our unreliable memories, and terrifyingly raw emotions. The story also explores Jenny’s relationship with her friends and how the looming threat of adulthood is taking a toll on each of them. While many films give us one-dimensional secondary characters that only function to push the protagonist's storyline Someone Great flips the script. Introducing us to Erin and Blair outside of Jenny's turmoil, we see another set of relationships. One settling into a new relationship and the other happily breaking up and having a sexy fling. Gina, DeWanda and, Britney bring these otherwise stale characters to life, with the right mix of Instagram-ready outfits and Twitter-worthy banter painting a fresh portrait of what a female support system really looks like. A group of friends, devoid of communication problems who are willing and able to have unpleasant conversations when needed. I consider this film a required watch for anyone over the age of 20. Someone Great manages to execute what many films fail at – speak our truth with a cast of sexy actors and a fantastic script. This film is speaking for us all who have fucked, loved and lost, for us who cuddled a bottle of vodka, cried at the club, in a car, and in the toilet. For all of us who felt like we would never be whole again - to tell us that our pain is human, our emotions are beautiful and we are magic.