Our first edition of the Ones To Watch playlist of 2024 is here with 10 standout artists we're on the look out for! CTRL - Mysie Raised in South London with Ugandan roots, Mysie’s music is as global as her upbringing. Despite being a classically trained pianist, her music melds deep house, indie-rock and indie-electronica to create a sound that just makes your body move. Chrissi - Lipo English singer/songwriter Chrissi offered us an audio journal in her 4 track EP No Love Unrequited. While the EP is bound by her reflections of her romantic experience, each song meanders enough in production style and vocal delivery to keep the project varied enough with a short track list. This EP and Chrissi's music by extension is honest, warm and not afraid to be indulgent in the morose. She hits a pain centre that many listeners will find relatable. Her vocal ability is undeniable but it's her pen game that's truly outstanding. Nippa - Reverse Since emerging onto the UK music scene 2 years ago, Nippa has quickly become one to watch after receiving cosigns from Bryson Tiller, Dave and Russ. His sound is neither old school, nor quite new school -  a melodic and smooth sound that combines past and present. dexter in the newsagent - Blue Skies dexter in the newsagent is amongst the new generation of indie-r&b. If you can conjure up how you feel when looking at the blue sky on a sunny day, blue skies is that feeling in melodic form. dexter in the newsagent perfectly stacks her sing-talky croon on top of airy guitar riffs and warm piano chords. BXKS - Back It Up BXKS makes music for the friendly ladies in the girls toilet on a night out. For the girls who go from skanking to throwing it back. Back It Up perfectly combines house, 808 beats and UK  noughties garage to create a track that just makes you want to, well, throw it bacckkk Natanya- Foolish Natanya is perfectly primed for making music. She was born with a perfect pitch, has classical piano training, attended jazz school and obsessively studying the vocal ability of her favorite singers growing up. The singer/songwriter frequently cites her obsession with making music, even before she knew she'd want to be part of the industry. She reveals that the single Foolish, which amassed over 1 million streams on Spotify, was made mid-revision for A levels with a sock over a microphone. Shallipopi - Cast This Nigerian native is swiftly garnering popularity. With a cosign from established artists like Fireboy DML and Focalistic, as well as fellow up and coming star ODUMODUBLVCK on his hit song Cast, it is only a matter of time until he becomes a household name himself. With an EP and album drop this year alone, new fans can enjoy an already expansive body of work that playfully hopscotches from afrobeats and amapiano. Summer Banton - Be My Guest The South London singer/songwriter's end of summer drop Be my Guest is a delicious slice of R&B nostalgia. The Livingstone Brown production and the track's visuals combines all the parts of the late 90s and early 2000s that made that time iconic. Summer's other drop this year Miss Me is a stripped back guitar production that lets her vocals take centre stage without compromising on the fun, preppy sound you'll grow to love her for. £Monzo - Pgg Freestyle Meet £Monzo. Not much is known about her as a person, so she lets the music speak for itself. Self-produced Pgg Freestyle is bragadocious, fun and flirty, perfect for her infectious and raspy flow. Produced by herself, it's clear she’s crafted a distinct sound. Romeo + Juliet- Gem This Jersey native's album Raging Bull solidifies him as a force in the making in the modern R&B scene. This self produced and self-written project perfectly exemplifies the way new age R&B can be a sonic playrgound when an artists leans onto curiosity and playfulness. From the catchy lyrics, to the fun vocal delivery, listening to Romeo +Juliet is a truly wondrous experience.

Following the success of duology ‘Disconnect’, director Tosh Gitonga is back with the critically acclaimed Netflix original music drama series ‘VOLUME,’ this time alongside creator Njiiri Karago. It is a coming of age 6 part TV series about Kenyan lad Benja, played by Bryan Kabugi, with dreams of making it big in the music industry despite his humble beginnings, all while trying to stay out of trouble. His best friend Castro (Faiz Francis Ouma), his girlfriend (Serah Wanjiru) and his mother all support his dreams in their own way until the consequences of his ever-growing fame starts to assume control of his life. There’s many good things to be said about this show, but an unanimous opinion is the beautiful cinematography and picture quality by Chuanne Blofield. A close second is the casting of the show. We have seen the same faces representing Kenyans on screen for far too long; it started to affect how audiences consume some of these productions, despite wanting to show continuous support for the ever growing film industry. Thanks to a partnership with Tusker Nexters, a new generation of 27 budding film industry professionals were given the opportunity to work under the mentorship of Tosh Gitonga under his initiative Primary Pictures, which was crucial for this project. Castro’s character is without a doubt a standout performance on the show. His introduction to the audience set the tone ever so clearly that he is the troublemaker in Benja, and honestly everyone else's life. He has charm and he mostly means well, but he is also his friend's biggest setback. Faiz Franics does such a good job in playing the misunderstood antihero of the show. He annoys you, you want to get rid of him, but at the same time you also find yourself rooting for him and whatever shenanigans he’s up to. No one rides for Benja harder than him. Another fan favourite is Ugandan actress Natasha Sinayobye who plays the antagonist of the show. Her performance as a club promoter and record label owner is compelling and this reflects every time she appears on screen. Her role as a somewhat loving mother manages to humanise her cut throat approach to business and the industry she works in as well. Benja, who you might recognize from Showmax’s Salem, is the ambitious musical protagonist. Driven by his passion for music by way of the church and his absent but also musical father, Benja falls in love with rap and is determined to make it out the hood with his talents. Netizens have compared this storyline with that of Philittv’s production Click Click Bang and another Showmax original Pepeta. Every so often the narrative on screen is either about a poverty stricken go-getter trying to make it in the tough city of Nairobi, or a poverty stricken hopeless romantic caught in a crossroads between the life he’s left behind and the life he’s working hard to attain, often involving a two opposite types of romantic partners. And while this is a reality for many Kenyans, I think there can be more creative ways to tell this story. Click Click Bang uses football as their true north, while VOLUME uses music as theirs - which I duly appreciate. However narratively, the series felt rushed. The pacing of the show was somewhat inconsistent, with some of the episodes feeling different from each other. The series was at its best in episodes 3 and 4, which highlighted mental health, drug use and the power of social media. In fact, the series tackles various issues in subtle but important ways. Ivy, played by Stepahnie Muchiri, takes on a feminist role as a social media influencer. However, she has layers. Through her character we get a glance into sex, colorism and the price of fame. Through the voice of reason, Smallz, played by Elvis Ounyo, we get a look into mental health, queerness, criminalisation of sex work and the importance of brotherhood. Mona Ombogo and her team of writers made sure each character on the show was fleshed out in complex enough ways to keep you interested in all their stories. It was also lovely to see the show grounded in the current zeitgeist with Kenyan brands such as Studio 18 KE and Shop Zetu on the characters through the work of costume designer Sharon Kinyanjui. However, the show quickly begs the question of whether music was truly important to the creators. Considering the current climate of the Kenyan music industry and the massive year we had in 2023, more could have been done to spotlight our immense talent on the momentous scale. This is not to take away the purposeful direction the show took in including an array of incredible musicians and rappers such as Timmy Blanco, NJERI and Poppa Don (who performed that iconic intro track), as well as Jovie Jovv, Jivu and many others through music director Bryan Smallz of Black Market Africa and music supervisor Ivan Odie of Callivan Ceatives. It’s more than any other Kenyan show has done for our music industry and for that they earn a very loud round of applause. Nevertheless, a soundtrack album was high on the list of expectations for many. Many Kenyans online have asked about different tracks on the show, trying to Shazam them and to no avail. Imagine how productive the series’ rollout would have been for everyone involved if they prioritised this engagement with the audiences. Perhaps an even worse issue was the show’s audio production that felt very lazy and hastily done. The music was almost never in sync with the words being mouthed on the screen, including the very obvious voice overs that were a bother to the ear. Additionally, the show also fell short in focusing more on the characters' day to day lives and less on the narrative of music and HipHop at its core. They lightly touched on the ups and downs of trying to make it in the industry, but it felt more like a crime show at several points and less like a music drama. And while all these themes make great plot devices, music becoming a side character unmistakably hurt the show. Perhaps if they took more time to train Buggi about the cadence, flow and attitude of a rapper from the array of artists they had access to while making the show, it would have made for a more authentic performance. Hip Hop enthusiasts from around Nairobi were not too amused with his rhymes either; whether it was his freestyles or studio sessions - his bars were very wanting. If we get a season 2, I really hope this is rectified because Buggi plays his character far too well with his natural charm and talent to be let down by this aspect of the writing. Here’s more of what I’m curious about: Benja and Ivy’s chemistry on screen. It was palatable and I want to see more of it. Is the love triangle storyline overdone? Yes. But did they make me want to watch them more? Also yes. I’m also curious to see where Lucy’s code of ethics takes her while she enters this new world with Jesus on her shoulders. Will we ever know what secret Smallz and Castro share between them after his regretful and sudden demise? Also, what are Andreas motives and how will Castro play into them? So much was left unanswered and despite how short the first season was, I’m more than curious to see how the creators answer these questions. Hopefully there will be less struggle and more success. Lord knows we need to see that on our screens. I hope that these storylines will be further fleshed out in season 2 and were not just used to drive Benja’s storyline forward, leaving us scratching our heads in confusion. All the same, VOLUME has been trending on Netflix since its release, so I’m hopeful for a renewal.

Our first bookshelf of 2024! Kickstart your year right by adding one, some or all of these 8 incredible releases to your reading list. Genre:  Non-fiction (Social History) Themes: British Rap, Grime, Identity, Culture, Community Summary: In this groundbreaking social history, journalist Aniefiok Ekpoudom travels the country to paint a compelling portrait of the dawn, boom and subsequent blossoming of UK rap and grime. Taking us from the heart of south London to the West Midlands and South Wales, he explores how a history of migration and an enduring spirit of resistance have shaped the current realities of these linked communities and the music they produce. These sounds have become vessels for the marginalised, carrying Black and working-class stories into the light. Genre: Literary Fiction Themes: Desire, Race, Class LGBTQIA +, Academia Summary: It's 2017 at the University of Arkansas. Millie Cousins, a senior resident assistant, wants to graduate, get a job, and buy a house. So when Agatha Paul, a visiting professor and writer, offers Millie an easy yet unusual opportunity, she jumps at the chance. But Millie's starry-eyed hustle becomes jeopardised by odd new friends, vengeful dorm pranks and illicit intrigue. A fresh and intimate portrait of desire, consumption and reckless abandon, Come and Get It is a tension-filled story about money, indiscretion, and bad behaviour. Genre: Science Fiction/ Fantasy Themes: African dystopia, Power, Death, Vengeance, Folkore, Justice Summary: Nelah seems to have it all: wealth, fame, a husband, and a child on the way. But in a body her husband controls via microchip and the tailspin of a loveless marriage, her hopes and dreams come to a devastating halt. A drug-fueled night of celebration ends in a hit-and-run. To dodge a sentencing in a society that favors men, Nelah and her side-piece, Janith Koshal, finish the victim off and bury the body. But the secret claws its way into Nelah's life from the grave. As her victim's vengeful ghost begins exacting a bloody revenge on everyone Nelah holds dear, she'll have to unravel her society's terrible secrets to stop those in power, and become a monster unlike any other to quench the ghost's violent thirst. Genre: Literary Fiction Themes:  Loss, Grief, Love, Family, Home, Restoration Summary: As Tess traces the sunrise over the floodplains, light that paints the house a startling crimson, she yearns for the comforting chaos of life as it once was. Instead of Max and Sonny tracking dirt through the kitchen – Tess and Richard’s ‘rainbow twins’ – Tess absorbs the quiet. The nights draw in, the soil cools and Richard fights to get his winter crops planted rather than deal with the discussion he cannot bear to have. Secrets and vines clamber over the broken red bricks and although its inhabitants seem to be withering, in the damp, crumbling soil – Sonny knows it – something is stirring . . . As the seasons change, and the cracks let in more light, the family might just be able to start to heal. Genre: Poetry Themes: Blackness, Hope, Heritage, Love, Loss Summary: A breathtaking poetry collection on hope, heart, and heritage from the most prominent and promising Black poets and writers of our time, edited by New York Times  bestselling author Kwame Alexander. In this comprehensive and vibrant poetry anthology, bestselling author and poet Kwame Alexander curates a collection of contemporary anthems at turns tender and piercing and deeply inspiring throughout. Featuring work from well-loved poets such as Rita Dove, Jericho Brown, Warsan Shire, Ross Gay, Tracy K. Smith, Terrance Hayes, Morgan Parker, and Nikki Giovanni, This Is the Honey is a rich and abundant offering of language from the poets giving voice to generations of resilient joy, “each incantation,” as Mahogany L. Browne puts it in her titular poem, is “a jubilee of a people dreaming wildly.” Genre: Absurdist Fiction Themes: Friendship, Delusion, Queerness, Anthropomorphy. Summary: Hero Tojosoa accepts an invitation she was half expected to decline, and finds herself in Prague on a bachelorette weekend hosted by her estranged friend Sofie. Little does she know she’s arrived in a city with a penchant for playing tricks on the unsuspecting. A book Hero has brought with her seems to be warping her the text changes depending on when it’s being read and who’s doing the reading, revealing startling new stories of fictional Praguers past and present. Uninvited companions appear at bachelorette activities and at city landmarks, offering opinions, humor, and even a taste of treachery. When a third woman from Hero and Sofie’s past appears unexpectedly, the tensions between the friends’ different accounts of the past reach a new level. Genre: Fantasy Themes: Home, Sisterhood, Romance, Love, Danger Summary: Yeeran was born on the battlefield, has lived on the battlefield, and one day, she knows, she’ll die on the battlefield.As a warrior in the elven army, Yeeran has known nothing but violence her whole life. Her sister, Lettle, is trying to make a living as a diviner, seeking prophecies of a better future.When a fatal mistake leads to Yeeran’s exile from the Elven Lands, both sisters are forced into the terrifying wilderness beyond their borders. There they encounter the impossible: the fae court. The fae haven’t been seen for a millennium. But now Yeeran and Lettle are thrust into their seductive world, torn among their loyalties to each other, their elven homeland, and their hearts. Genre: Literary Fiction Themes: Family, LGBTQIA+, Grief, Loss, Identity, Home, Love Summary: Tired of not having a place to land, twenty-year-old Akúa flies from Canada to her native Jamaica to reconnect with her estranged sister. Their younger brother Bryson has recently passed from sickle cell anemia—the same disease that took their mother ten years prior—and Akúa carries his remains in a small wooden box with the hopes of reassembling her family. Over the span of two fateful weeks, Akúa and Tamika visit significant places from their childhood where Akúa slowly spreads Bryson's ashes. But time spent with her sister only clarifies how how years of living abroad haves distanced Akúa from her home culture. "Am I Jamaican?" she asks herself again and again. But beneath these haunting doubts lies her anger and resentment at being abandoned by her own blood. "Why didn't you stay with me?" she wants to ask Tamika. Wandering through Kingston with her brother's ashes in tow, Akúa meets Jayda, a brash young woman who shows her a different side of the city. As the two grow closer, Akúa confronts the difficult reality of being gay in a deeply religious family, and what being a gay woman in Jamaica actually means.

If it is possible to have a favourite bill, then my favourite to pay for is my Odeon Limitless subscription. I take joy in the relatively low cost for unlimited cinema visits across what I believe to be the superior UK cinema chain and I relish excitedly explaining to people that “you only need to go twice to cover the cost of the payment.” This is by no means an #ad, I am simply providing context for how I am going to effectively live in the cinema, come the first month of the year. That’s the how. The why: it’s not often I say this about the film industry, but we are being spoilt. There is not a week that will go by this month, where there isn’t a film being released that hasn’t been met with critical acclaim by the likes of Cannes, or filmgoers across the pond that have enjoyed early releases. With all the talk in the New Year of resolutions and diets and Q1 goals, it’s easy to forget to prioritise the fun. So, to help you out, here is something of a timetable with key releases to watch out for in January. 12th January– Poor Things Following the film’s premiere at Venice International Film Festival last year, ‘Poor Things,’ has been met with nothing but praise and acclaim, with many singling out Emma Stone’s Golden Globe-winning lead performance as the standout. The film, a dark comedy directed by Yorgos Lanthimos ('The Killing of a Sacred Deer,' 'The Favourite'), follows Bella Baxter (Emma Stone), a young woman in the Victorian era, resurrected by a scientist following her suicide. It’s come over to the UK a little late (it was released stateside last month) but with a cast that includes Mark Ruffalo, Willem Dafoe, Jerrod Carmichael and more, it’s never too late to get involved. 17th January– Mean Girls: The Musical As someone who regards the original Mean Girls as a personal favourite, I'm anxious about the movie musical, which is out later this month. For a remake of both a film and a Broadway version, they’ve remained pretty tight-lipped about the musical aspect of this film, with reviews clearly under embargo and the US only getting it a few days earlier than us over in the UK, which is rare! But I think (read: pray) it will be a fun watch. 19th January– The Holdovers Sometimes the delayed releases in the UK are negligible, like with Mean Girls – but The Holdovers, the award-winning comedy-drama starring Paul Giamatti (Billions) and Da’Vine Joy Randolph (Only Murders In The Building), was released in October in America, and is set at Christmas time… Nevertheless, both Giamatti and Randolph both just won Golden Globes for their performances, and the plot line gives a crossover between The Breakfast Club, School of Rock and It’s a Wonderful Life – and I don’t think that can be a bad thing. 19th January– The Book of Clarence A film that actually had its premiere last year at the BFI London Film Festival, is produced by Jay-Z and is directed by Jeymes Samuel, who directed 2021’s ‘The Harder They Fall’ – and is also Seal’s brother. But enough fun facts for you! The Book of Clarence is a self-described “biblical comedy-drama epic,” and features an ensemble cast including LaKeith Stanfield, Michael Ward, Teyana Taylor and James McAvoy. The premise? A man called Clarence (Stanfield), living in A.D 33 Jerusalem, who claims to be a new Messiah in an attempt at glory. I know right? I’ll see you there. 26th January– All of Us Strangers Based on the 1987 novel ‘Strangers’ by Taichi Yamada, ‘All of Us Strangers’ is a British romantic fantasy film that follows two of Hollywood’s favourite Irishmen, Andrew Scott and Paul Mescal. The film is a love-story, a ghost-story and a coming-of-age drama that zooms in on trauma, loneliness and the overwhelming desire for human connection in all forms. It’s been lighting up the earlier awards shows, and also features British stars Claire Foy and Jamie Bell. 26th January– The Color Purple Blitz Bazawule is a Ghanaian filmmaker who co-directed the Grammy Award-nominated musical film, ‘Black is King’, alongside Beyonce. He is also the director for the film adaptation of the musical, ‘The Color Purple’, releasing in the UK towards the end of the month. Given the snippets that have been released, this unique perspective, as well as the talents of the likes of Taraji P Henson & Fantasia Barrino, has allowed Bazawule to bring an ironically modern approach to a film set in 1909 in the Deep South. A Tribe Called Judah Ok, ok. You got me – this film was released in December. But it’s still available in cinemas and I implore you not to miss it. Nigerian powerhouse Funke Akindele has made something special with this film, which delves into the intricacies of a seemingly regular Nigerian family that plan to rob a small mall to change their economic situation. It’s a comedy at its heart, but it’s combined with a captivating storyline and talented cast – and is currently breaking box office records in Nigeria. That’s all I have for you, guys. So, get your calendars out and start making plans. My advice would be to switch them up – grab your partner for a couple of them, friends for others, and make sure to accommodate solo dates. Of course, there will be some that say it's “too much cinema”. To them I say– you’re so direly incorrect.

In October 2022, Nikyatu Jusu’s debut feature film, Nanny  premiered at the 66th London Film Festival. Telling the story of Aisha, a Senegalese immigrant trying to bring her son to America, Nanny joins the ranks of visual media like His House (2020) and Juju Stories (2021), filled with cultural imagery of continental and diasporic experiences. This spotlight on African stories contributes to the nuanced storytelling of the Black horror renaissance and the stories therein. The fusion of horror and social consciousness in the past few years is in large part due to the success of American comedian and filmmaker Jordan Peele. The reckoning with race in Get Out (2017) has helped in the dissemination of  ‘elevated films’ - a term Peele himself rejects - and lends itself to the thematic stories told of Africa and the diaspora. However, to Scholar and Educator, Dr. Robin R. Means Coleman, the awareness of more recent Black horror cinema is synonymous with what the genre has always sent out to do. Horror, she notes ‘has something to say about religion, science, foreigners, sexualities, power and control, class, gender roles, sources of evil, an ideal society, democracy’.1 A nuanced conversation should focus on horror as a vehicle of learning and its evolution from past to present across art forms. In the film Nanny, Aisha is nanny to the daughter of a wealthy white couple, all the while longing for her own child, Lamine. Whilst playing the role of a nanny, she is plagued by figures of Western African lore that force her to reckon with her reality. There’s Mami Wata, a deity and water spirit akin to a siren, with an alluring presence always drawing people in and Anansi, a trickster spirit characterised by his cunningness and wit making it hard to discern what truth is. The preservation of these figures, largely through folktales, takes shape across generations and cultural landscapes. The horrors of colonialism mean cultural practices are often oversimplified and taken out of their context. Anansi, for instance, is ‘a story from her [Aisha’s] own past and culture, not your typical Western twinkle-twinkle little star,’ says Caroline B. Scott, the film’s set decorator. In the film, Anansi is introduced as a bedtime story filled with pictures for children. As a result, his magnitude is watered down to a palatable and digestible tale to lure children to sleep,  effectively diminishing his power. Similarly, the exploration Mami Wata is testament to Jusu’s narrative. Mami Wata becomes less ominous when we understand the enormity of her being. This is depicted in the film’s inclusion of Wangechi Mutu’s painting, Killing You Softly. Mutu’s work is best described as a layered exploration of femininity and an attempt to ‘subvert colonial preconceptions.’ The collaged piece shows her connected to the surface as well as the depths of what lies underneath. The featured artwork sits in the home of Kathleen (Leslie Uggams), who guides Aisha’s understanding of spirituality and ultimately serves as a key figure in demystifying the other. Of this, set decorator Scott says, ‘Mami Wata was a large part of Kathleen’s home because she is the heart of Aisha’s spiritual journey, almost watching over her as Mami Wata was.’ Nikyatu Jusu does justice to these deities, by using art works as learning devices. The textured piece becomes not only a moment of homecoming but marks a pivotal point in countering the other. Mami Wata becomes a symbol of healing and rebirth, and Anansi becomes a reference for resilience. Jusu uses multiple art forms of film, literature and collaging as the cultural signifiers of learning for Aisha and to draw her back home. Horror as depicted by Nigerian art does the same thing. Coleman’s 2019 documentary, Horror Noire: A History of Black Horror charts the history of Blackness and horror in film. The documentary a bulk of the legacy of horror as seen in American movies were functional spaces in ‘launching blackness as the monstrous other’. The process of othering relies on the subjugation of a subordinate ‘other’ to establish a dominant ‘Other,’ whereby these groups are defined in relation to each other. Exemplified in Carrie Mae Weems’ photo series, From Here I Saw What Happened and I Cried, othering refers to ‘the ways in which Anglo America—white America—saw itself in relationship to the Black subject.’ As learnt behaviour, othering continues to thrive in the absence of colonial rule and gives insight to horror as a mirror and how it manifests in Nigeria. Nollywood was and continues to be instrumental in reflecting a for us by us visual experience. The movies familiar to most of us growing up are riddled with horror tropes often expressed through religion and spirituality as well as iterations of the seven deadly sins. Horror in Nollywood was full of cautionary tales and moral behaviours to emulate in order to gain salvation. Egg of Life (2003) comes to mind among more recent revivals of Living in Bondage (1992 & 2019) and Nneka the Pretty Serpent (1994 & 2020). Film then is an example of art as an informative medium. Across photography and mixed media are other instances of how art teaches and preserves moments of moral education in Nigerian society. The late Ben Osaghae painted Target Practice in 2011. Of this he said, ‘this painting captures the outrageous excesses of some authoritarian governments that seem to derive a strange, barbaric pleasure from shooting, by firing squads, armed robbers and others branded as 'enemies of the state'. The horror of it all is the invitation of the public by the authorities to watch the blood-curdling scenes.’2 Less than a decade later, on October 20th, 2020, the Nigerian government opened fire on its own citizens during the EndSars protests. Othering operates as a dyad. It requires the oppression of one to establish itself and employs methods of stereotyping and arbitrary rules of identity that differentiate one group from the other. Horror lends itself as a tool for learning ‘as a way to address those traumas’.3 If history repeats itself, and we’re to glean important lessons from what has come before, then the learning process must encompass the different ways to heed these warnings. Using art and horror to teach means thinking beyond existing frameworks and considering how ‘classroom settings can be transformed so the learning experience is inclusive’4. Beyond the gates of academia, horror as and in art demonstrates this and shows how the landscape is constantly in development. Horror coexists with art as spectacle-making. It calls on an audience to view and thereafter form a personal understanding of works and the contexts in which they were created. The boundaries of education in Nigeria, particularly in and through art practices connect one moment of time to the other.  If horror is a mirror, it is a reflection of Nigeria’s political landscape, its authoritarian rulers and the eventual presidency of Goodluck Johnathon. Johnathan was instrumental in passing the Same Sex Marriage Prohibition Act (SSMPA), a legal tool for violence against queer people in the country. The basis of this discrimination as sinful, non-traditional and unAfrican is key in the profiling of Nigerian citizens by SARS police officers. In the art-life dichotomy then, the relationship is a circle with both constantly influencing and informing each other as seen in Yagazie Emezi’s 2020 photo series documenting the EndSars protests. EndSars garnered global attention. Beyond diaspora wars, continental and diasporic experiences communicate that our struggles are related and oppression does not act in a vacuum. State sanctioned murder was documented in real time despite failed attempts to deny and gaslight the public into thinking otherwise. The art borne of the protests have since become pinnacles of learning - educating a national and international audience on the annals of police brutality and the political current that funds this.Yagazie Emezi’s documented photos give visibility to struggle using ‘photography and sculpture to construct visual critiques of Nigeria's socio-political state and the roles media play in it, pulling from history and current events.’ In the midst of a global pandemic and extreme state violence, Emezi’s photos can be seen as tools that document and communicate the horrors of authorised violence as a catalyst for learning. The response to EndSars can also be found in history. Osaghae’s In Brotherhood We Stand features figures in mourning 'positioned with their heads bowed down and crouched knees’5. This continuous theme of violence and corruption is testament to the horrors of othering and how art continues to document its legacy in colonial and imperial rule. The impact of art has been trivialised, particularly as a product of frivolous activities in Nigerian culture, but it is these similar uses of art that have served as the bedrock of movements, learning and community. The largely youth-led EndSars protests were a moment of generational connection between older and younger Nigerians citing the violence of the Biafran War. The lingering effects of colonialism and strict religious practices equate respect and tradition with quiet servitude. Emezi’s series work in tandem with Osaghae’s paintings to show the audaciousness of art and how the energy of moments like this cannot be erased. After all, as much as Buhari has been a bad boy, who are those around him that encouraged him to be? The relationship between art, culture and horror is collaborative. In the way light cannot exist without dark - these topics all exist because they’re tethered to each other. The interaction of these multiple art forms - film, photography, painting - in one space, indicates a wider connection between the genre and the mediums it embodies and shows how art contributes to the reclamation and reframing of cultural narratives. Footnotes Means Coleman, R.R. (2022). Horror Noire: A History of Black American Horror from the 1890s to Present (2nd ed.). Routledge. Osaghae, B. (2011), Target Practice unframed [Oil and acrylic on canvas]. Bonhams, London University of Leeds (2023) The power of horror. https://www.leeds.ac.uk/news-alumni/news/article/5441/the-power-of-horror (Accessed: December 1, 2023). hooks, bell (1994), Teaching to Transgress: Educations as the Practice of Freedom (p.35) Osaghae, B. (2000), In Brotherhood We Stand [Oil on canvas]. Sothebys, London

It's been a great year for literature. From stellar debuts, and follow-ups that undoubtedly beat the sophomore slump, to affecting poetry and life-altering memoirs. Here is our list of 12 best books of the year, as seen on our monthly TBRs. Honey& Spice- Bolu Babalola Our May cover star stuns in debut novel Honey& Spice, winning the first ever TikTok Book of the Year award and garnering fans worldwide. This deliciously adorable YA romcom chronicles the love story between radio host Kiki Banjo and handsome newcomer Malaki Korede. Set on a university campus, Babalola explores love, forgiveness and growing pains against a backdrop of the socio-political ecosystem of a British uni campus. A Spell of Good Things- Ayòbámi Adébáyò A strong follow up from an author who is steadily becoming an African literary juggernaut. Parallel stories converge when two Nigerian families living very distinct realities of the country, become inextricably linked. Adébáyò offers cutting insight on power, corruption, the haves and have-nots and the incredible difference between the two. The List- Yomi Adegoke British-Nigerian writer Yomi Adegoke delivers sharp commentary on anonymity and digital court rooms, rape culture and accountability, and love's limitations in debut novel. Inspired partly by the real life circulation of a crowdsourced spreadsheet that went viral in 2017, The List narrates the dissolution of a young Black British couple Ola and Michael, after Michael's name is added to a list next to assault allegations. This summer debut is being currently being developed for TV by HBO, BBC and A24. Small Worlds- Caleb Azuma Nelson Nelson offers another lyrical masterwork in his sophomore offering. Small Worlds dazzles with music motifs and sensory affecting description as it explores love, community (ones we are born into and those we build) and coming of age. The novel is at its best when Nelson leans onto the narrator’s interiority as a means to view the rest of the world he crafts in the novel. Nightbloom- Peace Adzo Medie Ada's Realm- Sharon Dodua Otoo This piece of speculative fiction explores womanhood and femininity through time. Imaginative and cleverly executed, Otoo weaves together distinct- but inextricably linked- versions of a time travelling protagonist Ada, each time as a different woman. This is a story of injustice as much as it about power, and hope as much as it is about pain. Mandem- Edited by Iggy London Edited by award winning artist Iggy London, this collection of essays examines, gender expression, role models, queerness, relationships and many other themes that cut across Black British masculinity. Featuring the likes of Sope Soetan, Yomi Sode, and Christian Adofo, this collection is not only expansive in points of view and experience but also in writing style and flair. Maame- Jessica George Jessica George pens a gorgeously simple coming of age story of a young British Ghanian woman, Maddie as she stumbles through building a life that fulfils her. She is grieving her late father, weathering her relationship with an absent but overbearing mother, all while trying to hit supposed adult milestones like building a career and dating. George does a brilliant job of teasing out (what often feels like) the frustratingly impossible task of adulting successfully. How To Say Babylon- Safiya Sinclair A stunning memoir on growing up in a rigid Rastafarian household under her father's strict leadership, the influence she has sought to keep and the impact she had to shed. It is also a story about women, particularly black women, and the violently oppressive systems to be lived in and navigated without reprieve. Lastly, it is also about hope and courage and the creative resilience it takes to build something better for yourself. Here Again Now- Okechukwu Nzelu Nzelu offers a moving ode to father and son relationships in Here Again Now. With a tender hand Nzelu walks us through love lost and found, grief, and queerness and black British masculinity. Manorism- Yomi Ṣode In this poetry collection, Yomi Sode gives language to what is often silenced. With clarity, curiousness and dexterity, Sode walks us through becoming, grief, building yourself back again. Sometimes hard to stomach, but even harder to put down. It's Not That Radical- Mikaela Loach Loach tackles what it arguably the most pertinent issue of our times, climate justice. In this non-fiction, she expertly draws the links between capitalism, racism and the misrepresentation of climate change in mainstream media. It’s Not That Radical reminds us that without climate justice there can be no collective liberation.

Adjani Salmon and I sit across from each other through a Zoom call. Behind him, rows and rows of books with sprawling plants and a single skylight. As a newly appointed member of 2023’s BAFTA Breakthrough cohort, I ask Adjani what he would have gained had he been a participant in the programme back when he was in film school. “The opportunity would have been invaluable” he says. “The key messages from a few people at film school still ring true now, it would be invaluable to have conversations in real life with those I look up to and, not only to give my flowers, but to ask for advice from the people whose careers I’ve followed and tried to mirror.” What does BAFTA Breakthrough mean to you? Getting into it is humbling. I know I’ve received recognition before, but I’ve never had an official mentor or scheme to promote my career. Since film school I’ve been trying to let it myself and with my friends so to have this kind of recognition from BAFTA means a lot, and I’m looking forward to this opportunity. What are you looking for in particular from the participants of Breakthrough? Honestly, I’m looking forward to conversations I could potentially have with industry people. To have a conversation with the Issa Rae’s the Jesse Armstrong’s, the Jordan Peele’s. Asking, "How do you balance being a multi-hyphenate talent in the industry?" "How do you avoid being trapped in a box?" "How do you escalate to the next level?" You know? “I can’t imagine what I could learn in my career if I had access to the people I look up to". You managed to get your breakthrough in independent cinema, an avenue seemingly getting harder and harder to get into. Do you have any thoughts on how young filmmakers can enter into these spaces and create the type of content you’ve created? To be honest my advice would be to try everything. I can’t tell you that the web series is the way because I didn’t know it was the way. I knew they did it in America, but I’d never seen it here [in the UK]. There was at least a year and a half before anybody picked up the web series so I was already back to ‘okay, let me write two more short films’. The key thing to do is, before you stress yourself about getting in, focus on developing your talent. You don’t necessarily need many resources to do that. We made [the web series] Dreaming Whilst Black with the camera on auto focus the whole time. Most of it was shot in the day because we had no lights. There are barely any professional actors in the web series. Most of them are my friends from architecture school or film school, because we didn’t have money for actors. But it was still an opportunity to develop our craft, our writing skills, our directing skills. "Shoot your shot in any way possible." What was the reception like to Dreaming Whilst Black [the BBC series] from your point of view? Man, it’s been humbling. It’s exceptionally hard to make TV. I genuinely don’t judge any show, you don’t know what they went through to put that on screen. To make something good or great or to make something people love, is a whole other level. To see the love from our community and the wider British public. It’s in America, it’s in Australia, it’s all over the world! We screened it in Uganda. Where do you see the comedic space in the UK going? Is there anyone that you see as next up? Who’s next!? Oh my gosh, Abdou Cisse, Runyararo Mapfumo, Teniola King, Rashida Seriki .... Who else? There are so many [people]! I really hope we get a series two, cause there are so many new directors I’m trying to put on. Are there any places you go to in London to catch a comedy show? The real joke is I’m a person who writes comedy who doesn’t go and watch comedy. What are some dramas you’ve been engaging with? Dreaming Whilst Black is my first comedy. The short films I’ve done prior, the feature film I’ve done with Film 4, those were all dramas. For me when I think about stories and what I want to say, I think about who I want to tell it to. Then I think about how best they'll receive what I want to say. That’s why Dreaming Whilst Black became a comedy. It was the best vehicle to speak to our community and have that conversation about the different themes in the show. I am writing another comedy, but when I’m tryna chill I like to watch a serious Bong Joon-ho, Paolo Sorrentino, Barry Jenkins. That’s where I naturally sit. How do you identify your key audience or is it always for your community? Bro who else am I tryna write for? There are loads of people writing for everybody else. I’m tryna feed our people with more content. Having had tremendous success, who would you want to give those flowers to and learn from now? I’ve followed Issa Rae to this point, I’ve followed Donald Glover to this point. I’ve followed Michaela Coel, Phoebe Waller-Bridge. I would like to follow Jesse Armstrong. I would like to Step into the film space and move like Barry Jenkins or Bong Joon-ho. Those are my people. BAFTA Breakthrough is supported by Netflix. To learn more about the individuals in this year's cohort click here. UK BREAKTHROUGHS (20): ● Adjani Salmon, writer/performer/exec producer – Dreaming Whilst Black ● Bella Ramsey, performer – The Last of Us ● Cash Carraway, creator/writer/exec producer – Rain Dogs ● Charlotte Reganm, writer/director – Scrapper ● Cynthia De La Rosa, hair & makeup artist – Everyone Else Burns ● Ella Glendining, director – Is There Anybody Out There? ● Funmi Olutoye, lead producer – ‘Black History Makers’ (Good Morning Britain) ● Georgia Oakley, writer/director – Blue Jean ● Holly Reddaway, voice and performance director – Baldur’s Gate 3 ● Joel Beardshaw, lead designer - Desta: The Memories Between ● Kat Morgan, hair & makeup designer – Blue Jean ● Kathryn Ferguson, writer/director – Nothing Compares ● Kitt (Fiona) Byrne, 2D artist/game designer - Gibbon: Beyond the Trees ● Michael Anderson, producer - Desta: The Memories Between ● Pete Jackson, writer/creator – Somewhere Boy ● Raine Allen-Miller, director – Rye Lane ● Rosy McEwen, performer – Blue Jean ● Samantha Béart, performer - The Excavation of Hob's Barrow ● Talisha ‘Tee Cee’ Johnson, writer/director/presenter – Too Autistic for Black ● Vivian Oparah, performer – Rye Lane US BREAKTHROUGHS (12): ● Amanda Kim, documentary director - Nam June Paik: Moon Is The Oldest TV ● Aminah Nieves, performer - 1923 and Blueberry (Film/TV) ● Apoorva Charan, producer - Joyland ● Cheyenne Morrin, senior games writer - Star Wars Jedi: Survivor ● Edward Buckles Jr. documentary director - Katrina Babies ● Gary Gunn, composer - A Thousand and One ● Jingyi Shao, writer & director - Chang Can Dunk ● Maria Altamirano, producer - All Dirt Roads Taste of Salt ● Santiago Gonzalez, cinematographer - Shortcomings ● Shelly Yo, writer & director - Smoking Tigers ● Sing J Lee, writer & director - The Accidental Getaway Driver ● Vuk Lungulov-Klotz, writer & director - Mutt INDIA BREAKTHROUGHS (10): ● Abhay Koranne, writer - Rocket Boys ● Abhinav Tyagi, editor - An Insignificant Man ● Don Chacko Palathara, director/writer - Joyful Mystery ● Kislay, director – Soni ● Lipika Singh Darai, director/writer - Some Stories Around Witches ● Miriam Chandy Mencherry, producer - From the Shadows and The Leopard's Tribe ● Pooja Rajkumar Rathod, cinematographer - Secrets of the Elephants ● Sanal George, sound editor/mixer/designer - Gangubai Kathiawadi ● Satya Rai Nagpaul, cinematographer – Ghoomketu ● Shardul Bhardwaj, performer - Eeb Allay Ooo!

The last five years or so have seen a resurrection in R&B after a global demise in the early 2010s. Artists including H.E.R, Summer Walker, Lucky Daye and Kehlani, and more recently singer/songwriters such as Victoria Monet and Brent Faiyaz have revitalised the genre with their authenticity and attention to craft. However, even during this slump, the music scene in Nairobi has never fallen short of amazing R&B singers or songwriters. Instead, we have seen a progressive shift both in artistry and the reception to the genre overall. This shift is evident with musicians such as Bien, Xenia Manasseh, Bensoul and Nikita Kering being among the top streamed artists from Kenya in 2023. R&B (Rhythm and Blues) dates back to the 1940’s and was coined as such for mainly black secular music i.e Motown, The Blues, Soul, Funk and even Disco. Over the years, it has evolved through eras to what we know it for today, with each era having specific elements that makes one stand out from the other. But it’s really between the 90’s and the early 2000’s that R&B was at its peak globally. Historically, the Kenyan music scene has always had soulful singers, instrumentalists and later on even dancers. There were groups such as Swahili Nation and Tattu, and composers such as Harry Kimani. Their music incorporated Afro Fusion, Rhumba Soul, Kapuka Soul and so on and so forth, and were (in fact, many musicians still are) unmistakably influenced by Benga music, which had elements of Rhumba, Rock, Funk and Jazz - with an Kenyan twist. But unless they fell into these specific distinctions, most artists would have been termed as R&B artists of some sort today. In fact, if you googled most Kenyan vocalists at the time (especially the early 2000’s), you’d find that they are not defined by any specific genre but instead are described as Kenyan singer/songwriters. The genre-less nature of most of the music from that time and the notable R&B elements paved the way for the eventual emergence of the genre. R&B now has grown into a superordinate for a lot of sub-genres that morphed over time. Think R&B/Soul, Neo Soul, New Jack Swing, Contemporary R&B, Alternative R&B, R&B/HipHop and many more. In Africa, we can add Afro R&B, Alté or what Ckay, famously known for his romantic lyrics calls “Emo Afrobeats”. It’s hard to tell where exactly R&B in Kenya initially got its start, so let’s instead consider when and where its prominence began to take over. Some might say it was Eric Wainaina or his former gospel acapella group 5 Alive, others might say it was the impact of singers like Mercy Myra, Didge, Sheila Mwaniga, Amani and Coca-Cola Popstar winners SEMA. Younger generations might even argue that it happened with the emergence of Kenya’s biggest music superstars to date, Sauti Sol, who initially started as an acapella group and like most R&B artists sang in choir before transitioning into contemporary Afro Soul/Rhumba Soul music into their mature years and then fully into an Afro Pop group. Away from the beloved but typical rhythmic and soulful music that was coming out of Kenya in the 2010’s, came a new generation of artists such the multi-nominated (BET, MTV and MOBO awards) R&B/HipHop group, Camp Mulla. Most notable was their lead vocalist Karun who won the hearts of many around the continent with her honeyed vocals. This singlehandedly shifted the way Kenyans consumed and made modern music. Before this, most of us either held onto the nostalgia of Old Skool Kenyan music, or were bewildered by Western top charting music. Camp Mulla, along with Sauti Sol that continued to skyrocket into stardom, and other prominent groups like Elani, planted the seeds of what would grow into a soulful homeland of R&B lovers, makers and investors. At the same time, the infrastructure that would see these artists thrive was slowly being built. Just like any other part of the world, the internet gave Kenyans access to a plethora of resources that were useful for upcoming, experimental and independent artists. Where would many be today without Soundcloud and YouTube? Musicians got more confident in their work and thus more encouraged to publish it. This era between 2015 and 2018 was a time where Kenyans would throw whatever work they had out into the pond and waited to see if the fish would eat it or not. And if they were lucky, the fish would ask for more. The combination of experimentation and ease of publishing gave birth to the alternative scene, but more specifically alternative R&B. What was even more exciting about it was that this was not just a space for up and coming artists, you would have artists as seasoned as Karun also participating in this experimental world of music making in Nairobi. Music schools such as Sauti Academy and creative arts schools such as ADMI Kenya saw a massive enrollment at this time as well and would nurture future talent. As a result, artists got together, worked and dreamt of the possibility of a creative life in the industry. Fast forward, the musicians from this era gradually gained traction for their music. People got curious about them and wanted to see them perform so they started getting booked for shows. Venues like K1 Klubhouse have always been known to house musicians new and old, but it was events like Nairobi R&B that really pushed the genre into the forefront of the scene in the years that followed. In the words of Faiza Hersi, founder of Nairobi R&B and Soul HQ, “I started Nairobi R&B not only as a deep lover of the genre, but also as someone who saw a gap in our scene. At the time no one was really investing into the musicians in that space and I really wanted to give them a platform where they could grow and expand their artistry.” Through Nairobi R&B, she flew in musicians such as Masego and KAMAUU into the country and would have Kenyan musicians like Karun and Xenia Manasseh as openers to showcase the potential of Kenyan R&B. This further led her into establishing Soul Headquarters, her record label and agency of which she still closely works with the two including other Afro R&B/Alte musicians such as Aylo and more recently Altair Saïd, with the aim of pushing Afro R&B to the forefront of the continent. Other music and art events such as Blankets & Wine, Africa Nouveau, Thrift Social and more recently Folk Fusion and Nakili Sessions have also played a major role in highlighting the soul that’s bestowed in the city. Taking it back to the Soundcloud era, it is impossible to talk about R&B’s rise without acknowledging the producers behind the songs from that time. This era saw a lot of musicians experimenting with electronic producers that explored different sub-genres of R&B. Producers like Just A Band, EA Wave, XPRSO and Sichangi to name a few. Their production work would introduce Kenyans to even more artists such as Wanja Wohoro, Tetu Shani, Mayonde, Wendy Kay and Vallerie Muthoni. This is what I think differentiates R&B that was made then and what is made now- the producers willingness to experiment with sounds. Producers have always played a major role in what the genre has evolved into over the years. We wouldn’t have many classics if it wasn’t for legends like Ted Josiah and Tim Rimbui, who both honed the careers of many Kenyan musicians such as Eric Wainaina and Suzanna Owiyo, as well as Ogopa Djs who produced music for artists like Amani, Wahu and Mr. Lenny. Today producer Ukweli is currently at the forefront of reshaping the genre. In our post COVID-19 world we have seen a rise of many more artists that fit within the sub-genres such as Maya Amolo, Kinoti, Muthaka, Ethan Muziki, Ayrosh, Njerae, Charisma, Mutoriah, Bridget Blue, Watendawili and so many more who honed their crafts during lockdown and came out swinging as the worlds ‘new normal’ began to take course. Outside of the enduring nature of R&B music and its relatability to many music lovers, another big reason for its rise in Kenya right now is the accessibility to a larger audience thanks to the internet. More listeners are able to tap in and appreciate its diverse nature from Kenyan artists, despite the genre’s African American roots. We currently have the globe on our radar, proven by Spotify Africa and COLORSxSTUDIOS collaboration which aims to shine a light on African R&B. According to the COLORS website, “The Kenyan capital city of Nairobi is fast emerging as a hub for some of the most exciting original voices emerging from across East Africa''. In celebration, they brought together 18 musicians, songwriters and producers from Kenya, Nigeria, South Africa, Uganda, Botswana, Burundi and the diaspora for a multi-day songwriting camp alongside a series of masterclasses. This affair provided a platform for these artists to connect and collaborate, as well as perform for millions on their A COLORS SHOW platform on YouTube. From Kenya, we had Lisa Odour-Noah, Xenia Manasseh, Karun, Bien, Maya Amolo and Zowie Kengocha. You might have also noticed Nyokabi Kariuki who was COLORSxSTUDIOS own pick outside of the collaboration, not as an R&B artist, but as an inventive composer and sound artist, putting the experimental and underground music scene in Nairobi on the map. The stars aligned in everyone’s favour! Each artist delivered their own unique spin on the genre and was met with much praise. The music that came from this collaboration is proof that when Kenyans support our own, we can reach greater heights than when we don’t. Long gone are the times where Kenyans would only celebrate their own once they were recognized elsewhere; the R&B scene now can proudly say that it was supported at home through the invitation of such music platforms and demanding for shows to hear their favourite artists. Spotify picked their Afro R&B Tantalizers playlist for this collaboration because they noticed Kenya’s affinity for R&B music over the last year. Not only was it the most streamed playlist on the platform, but they also noted that Kenya is the global leader in R&B music consumption and the numbers are steady on the rise. Despite R&B resurrecting globally, and Africa being on the watch, there’s a special spiritedness coming out of Nairobi city that stands out when it comes to the love of the genre. Many wonder what genre will be the one that will finally give Kenyans and East Africans as a whole recognition globally since the 2010’s, and it’s easy to see why some have their bets on R&B. However, it's not that easy to tell. The industry landscape is ever changing despite the great potential and talent that we have. Who knows, it might even be house that eventually does the job. Either way, the biggest takeaway is that we need to celebrate and uplift our own in order for them and us to reach global scales. COLORS came here because Kenyans online made several appeals to see their favourite Kenyan artists on their platform and it happened. Who is to say that we can’t take it further? In the meantime, apart from those mentioned; keep an eye out for Kasha, Altair Saïd, Caleb Awiti, Maali, NJERI, Iyanah, Andyah, Billy Black, Amara Tari, Emma Cheruto, Nge-The-Producer, Lukorito, Hawi Okello, Hendrick Sam and so many more artists flaunting Kenyan Soul around. Click here for a playlist of all the mentioned artists from newest to oldest in the scene.

At the beginning of November, Joeboy released Only God Can Save Me, a track he describes as a channel to express the loneliness and despair he felt during a strange two-week period in his life. He recounts the revelations from the strange time period; “I discovered a lot of negative things going on around me, and I started seeing people around me for who they truly were. I needed certain people to be there for me, but they disappeared on me.” This track became the leading single off the EP, Body, Soul& Spirit, released not too long after his second studio album Body&Soul. The EP is a sort of extension to his sophomore era- a more introspective look at the themes Joeboy covers in Body&Soul. “I wasn’t trying to make bangers,” Joeboy explains, "I wanted to make music that I really connected to at that point in time; it turned out to be the most vulnerable project I have ever worked on.” In Body, Soul& Spirit’s opener Only God Can Save Me, Joeboy sings of the fickleness of human nature. “Is you my friend only in good times?” he questions, before definitively declaring,“if you no go dey when it’s war time/ No go show your face when my sun shine.” Instead, he informs us that he chooses to turn to a more reliable, higher power: “I don’t trust nobody (nobody oh)/ Only God can save me (oh).” And about halfway through the track he stops addressing listeners and speaks to God directly, “Save me, save me/ Baba, save me/ No forsake me (‘sake me).” The stripped back Debo.x production puts Joeboy’s pleading vocals to the forefront. Turning to a higher power is not particularly new to Joeboy; in fact, spirituality has kept him down to earth on his musical journey thus far. In a career that has spanned a little more than five years, Joeboy has garnered himself the reputation of being a certified hitmaker. We see this from his introduction to the mainstream afrobeats scene with the EP Love& Light, whose lead single Baby garnered 80million views on Youtube, to the multi-platinum selling Sip (Alcohol), and the collaborative masterpieces love nwatiti with CKay and Nobody with DJ Neptune and Mr Eazi. Whilst his ascension has been exciting no doubt, the sheer speed of it has been a little breathtaking. “I mean it helps that I’m an adrenaline junkie,” Joeboy says. “I love all the crazy things. I’ll skydive, zipline, bungee jump, anything exciting. I don’t mind the unknown, I’ll travel and immerse myself in cultures I know nothing about.” Ironically, he reveals that it's his thrill-seeking nature that has kept him grounded through the rollercoaster that is his career. But it has also kept him yearning for more. The afrobeats star quotes a proverb his father has recited to him many times; a child that's ever been out of his father's farm will think his father's farm is the biggest. This devil-may-care attitude and thirst to expand his world have undoubtedly helped him stay focused on the bigger picture: joy. But sometimes, the industry and its sleuth of tough times has required the young star to seek solace. “I’m very spiritual and have had to stay that way in this business. It has helped me think long term. Even if I’m going through a tough time, spirituality keeps my head up, it keeps me focused on what matters most,” he says. Three out of the five tracks in Body, Soul and Spirit were recorded in solitary. He recalls; “I recorded Only God Can Save Me, Telephone and Surviving by myself, and it was a really beautiful experience.” Joeboy shares that the time alone allowed him to tap into a more vulnerable and experimental space that he would have otherwise not reached; “sometimes you don't really want to go too deep because there are people in the studio, so this gave me a chance to express myself freely.” Both Telephone and Surviving explore love and romance. But whilst Surviving echoes feelings of desolation like those in the project opener, Telephone is a bright spot exploring love’s euphoria as he serenades a love interest. “So, I wonder why I feel high/ When I dey with you, you feel like a breeze on my face…/Na only you go ease all my pain, oh-oh.” The two remaining tracks are 24/7 and Enemy. The former is a self pep-talk of sorts, but one with resentment rather than genuine confidence. In one part he sings of the joy after a tough time, “Me, I want to dance and flex and feel alright/J’aye lo, party lo, 24 seven oh brother/,” but in another, “Carry my matter for my head I no dey foh, I no dey send/ ‘Cause if I carry last today, nobody go reason me, nobody go care.” The latter, Enemy, is almost the antithesis of Telephone. In this track he blames himself for a toxic love affair he wishes he never got involved in. Whilst the inspiration behind the project as well as the process of crafting the five songs was personal, it’s not clear that this heightened vulnerability filters through the finished product. The songs seem to resemble a similar tapestry that the African popstar has weaved throughout his career and particularly in the sophomore album Body&Soul; sentimental lyricism, a simple piano arrangement, and a looming drum pattern to make the track meatier. This formula- in its slightly altered variations- punctuated by a vocal ability that quite frankly deserves much more mention that it gets, has worked wonders. Earlier on in the conversation, Joeboy expresses that if he had it his way, this five track offering would have been in the form of a deluxe album. The commercial reasons behind a label pushing for an EP are understandable, but craftwise, this is a clear case of the artist being right. Regardless, there is definitely growth in Joeboy’s sophomore era (the album and EP). He reflects, “I’m writing more intentionally and using words more precisely. Also, I’m aware of which lines will catch on with listeners, or which ones might become captions that keep the song alive” He continues on, “if you go back to my music two years ago and then listen to my music now, you’ll see that there's an obvious improvement in the quality of the sound. That’s intentional too.” This growth is partly owed to his well picked collaborators. Fans have previously teased the afrobeats artist for his lack of features in the projects prior to Body&Soul, but he attributes it to needing to establish a connection prior to working with other artists. “I have never featured anybody based on the idea of, ‘oh, this person is hot right now, so let me get them on the song so it can gain traction’.” It is important for Joeboy that he and his collaborators establish a connection that feels natural and joyful. “I reach out to them and we just hang out, vibe and feel out the energy. If it feels right, then we can talk about creating music together,” he explains. He has to enjoy their music too, of course. One such connection is that with DJ Neptune, as seen by how much work they have done together over the years. In fact, DJ Neptune actually managed Joeboy for a brief moment in 2018 before they became peers; “he was one of the first people to show me the ropes in this industry and introduce me to people, you know? He has been a very big source of support for me in the industry.” The afrobeats star goes on to praise the DJ’s care for all facets of artistry beyond making the music. He says, “you know some people just want you to feature so they can use your name for clickbait but what I love about working with DJ Neptune is that he will make sure the song gets out there. And even after that, he doesn’t relax, he’ll want to do a video shoot or interviews, whatever it takes to make the song bigger. He’s also a very straightforward person, and those are hard to come by in this industry.” Although Joeboy has dabbled with other genres- and afrobeats itself has evolved into an infusion of many sounds- he has largely stuck to what we would refer to as the traditional iteration of the afrobeats. “I like to play the long game,” he explains, “I’m not one to jump on a sound just because it seems like the in thing. If I feel like making a piano I will but not because I feel like I have to. I don’t make fast food music, I’m fine dining.” When he looks back at this career, Joeboy hopes that it is clear that he stayed true to himself, “I never want to feel like I’m doing the same thing as everybody else because it’s what is in.” Many of the afrobeats’ juggernauts have managed to set themselves apart. Joeboy is right, he does not necessarily need to majorly deviate from the genre. Truly, the next step for the star seems to be to hone in on a corner of the genre and claim it as his own. Maybe through his leaning onto his reputation as a heartthrob via his lyricism, or another standout quality, but his next era should have listeners able to pinpoint a Joeboy song beyond the fact that it’s a hit. This EP, and his sophomore phase by extension has at the very least proven that he has staying power, and a solid foundation to keep him as a household name in the game. But Joeboy has bigger ambitions. His ultimate goal, in his own words, is “global domination.” He shares a story of his friend sending a video from Oman with his song Countour playing in the background. “I’ve never even been to Oman,” he laughs before adding soberly, “I’m ready. I’m absolutely ready to be shutting down arenas, and stadiums and be the biggest song in I don't know, the Caribbean.”

Reflecting on the BBBF23 during Black History Month; a cultured celebration of books, talent & creativity. On a tranquil autumn weekend in October, I attended the Black British Book Festival founded by Selina Brown at the Southbank Centre, London. The perfect bookish event for someone who adores books, loves learning and yearns for a place to share that passion with others, especially other Black people. Events of this nature help to illustrate and capture the countless feelings reading can evoke. Ultimately, an amazing weekend to amplify Black voices, inspire creativity and encourage others to both read and diversify their reading selection. The magical festival blessed London for the first time with a wealth of stalls, workshops, interactive panels and entertainment including Oti Mabuse, a musical performance from BrokenPen, poetry from Yomi Sode and much more. Upon arriving, there was a lively atmosphere within the Black Book Marketplace. There were stalls for publishers, booksellers and an absolute feast of free book giveaways. A diverse range of emerging talent was present, including self-published authors. It was heart-warming to see young talent such as Lauryn, author of 'Lauryn That's Me', serving as a great source of inspiration for her peers and motivating many others to put their stories out there. On Fats Timbo's #BlackBookTok panel, an insightful discussion regarding content creation was had alongside keen audience participation. Fats also discussed her book 'Main Character Energy'. Emphasis was placed on embracing uniqueness within oneself and transparency which fosters authentic audience connection. The intersectionality of her different identities as a Black disabled woman were discussed, its impact and how she has been able to delightfully empower others through humour. Key takeaways revolved around enjoying the content creation process and remembering that there's a light at the end of the tunnel. As the day closed there was a live 'Good Vibes Only' showcase of poetry and performances, touching on aspects of community, identity and trauma. A performance that resonated with me was performed by Safiya Kamaria Kinshasa, who told an intricate story through movement, emphasising its importance in both preserving and symbolising language. It depicted the idea that movement translates to us speaking and carries messages. In essence, if 'we've always been moving, we've always been speaking' and thus we carry a historical story through movements from our ancestors from slavery to present Black communities. To elevate the festival experience, I would have liked to have seen a social mixer activity on the line-up to help spark conversations between strangers, especially for more introverted readers like myself who attended alone and wanted to connect with others but don't know where to start. Overall, the festival was thoroughly enjoyable. It was empowering to feel seen and included in a wholesome book-loving space with people who mirror similar identities. I felt a boost of confidence to read more, create and likely tell my own stories in future. The book signings added a personal touch to savour the experience, like a literary tattoo that will live on with me, embedded in my bookshelf forever.

Our weekly Ones To Watch playlist featuring music from up-and-coming artists we think you should add to your playlist! Click here to check out the Vol.7 playlist. BXKS - Back It Up Emily King - Ever After Danni Tesfay - Believe in love Shallipopi - Cast ODUMODUBLVCK - DECLAN RICE D'Yani - Ambience Nissi - Higher Thea Hallow - Love Buddy Summer-Pearl- what you want Hanani- L.L.F.T.A

Ahead of Netflix's time-bending drama Bodies being released, we caught up with actress Amaka Okafor who plays DS Hasan. You're about to star in Netflix’s Bodies – what was the auditioning process like for this project? The auditioning process was long and thorough. There was no doubt that I was kind of an unknown, a risk I suppose. But right from my first recall, Marco (our director) made it very clear that he was fighting for me. My mum literally calls him an angel, ha! What drew you to the role? Why did you want to be attached to this project? I absolutely LOVE THIS CHARACTER!! Honestly, she is so multifaceted. I felt properly seen by her and completely connected to her as soon as I started reading the pilot. The writing is so good. I'm usually quite a slow reader, but I burned through that pilot in one sitting (unheard of for me) and not only did I really want the job, but I needed to know WHAT WAS GONNA HAPPEN NEXT!! Bodies has such an interesting concept – can you tell us a bit about the show? Bodies, at its heart, is a story about what happens when a child feels unloved. It jumps from genre to genre so deftly and the mystery is so tightly gripping! But at its core, it’s essentially about love. Amaka's character of DS Shahara Hasan, sits in the present-day and ends up drawn into a compelling case when the body of a young man is found on Longharvest Lane, Whitechapel, London, while she is in pursuit of a suspect. Making this young man the focus of her investigation into the murder sees Hasan drawn into something she didn't think was possible. Do you see similarities with yourself and character DS Hasan? Yes, so many! She is a single mum (same), she is close with her dad (same), she loves her job (same), work/ life balance is a challenge for her (I'm working on it....), she has faith (same), she is mixed race; African and Asian (same!), she goes out on a limb for people and that has gotten her into trouble in the past -SAME. I could probably go on! Do you have a particular process when getting into character and do you find you take a character home with you at the end of the day? I am an instinctive actor. I didn't train, so I have learnt my process on the job. I find ways in which we are alike as a way in and then focus on the differences and figure out how to access those parts of the character. It's never the same route, as each character is different. I don't take characters home but sometimes I learn something about myself from the process, and I pocket those little nuggets. What do you hope will resonate most with viewers after watching the show? Each detective is an outsider in their time, for whatever reason. They are each battling with society's perception of who they are, or how they identify. I hope that by seeing that internal struggle in each of them, encourages people to open up to one another. Assume a little less about other people. Bodies, adapted from a comic originally, does well to not leave audiences lost in the confusion time-travel can often pose. It's pacing; though slow to begin with, picks up rapidly, making it a binge-able weekend watch. Who do you draw inspiration from in your working as well as personal life? My Mum and my Dad. My Dad is a singer/songwriter and when my parents separated, I mainly lived with him. I spent my childhood with him in recording studios and on the road and appreciated being exposed to his wild creativity and deep passion for justice. He is a protest singer really. My Mum left home when she was really young with no real qualifications and hustled her way into the BBC. When she realised there was a glass ceiling for her, she left and started her own PR company. She is honestly so so impressive! I have watched her build the life she wants from nothing and block out any negativity. She's amazing. What do you do to decompress after you have finished filming? I watch a bit of telly. Nothing too taxing. Something that'll make me laugh, like Brooklyn Nine Nine. What is your favourite part about being on a set? On Bodies, my favourite thing about being on set was hanging out with the crew. Honestly, the best group of people! So funny, sensitive and kind. I looked forward to going to work every day. You've been awarded 2023 Screen International Star of Tomorrow – what does that recognition mean to you? That recognition means the world. I thought that kind of thing only happened to people in their 20’s. I'm usually the safe pair of hands who facilitates the lead character's story, so if I'm doing my job well, I shouldn't really be noticed. But to be seen, to have all the years of hard work recognised....I can't even. It makes me wanna cry. In a good way. What advice would you give to your younger self? Trust your gut. If something feels wrong, it probably is and you don't have to go along with it just because everyone else is. Actors are seen as difficult if we say 'no'. Especially if you're not white. So you can often find yourself going along with something that feels wrong deep down. It can be hard to put into words on the reasons right away, so can feel hard to speak up as you don't have the language for the feeling just yet. I would encourage my younger self to take the time to pause and interrogate those gut feelings. Then the words and reasons will surface. Bodies is available to watch now on Netflix.