In Conversation With: Tempoe From as early as he can recall, music has always been a true love for Nigerian-born, music producer Tempoe. So much so that as a child, he can remember regularly being questioned and berated for his insistence on creating rhythmic beats with any and everybody part feasible. “ I’ve always liked to listen to music. I was thinking about it the other day. I lived with close family friends for a while, and they always had an issue with me tapping. I was just playing stuff in my head. Just tapping. They would always tell me to stop dancing or ask me what I’m listening to, and I say ‘nothing’ and they would say ‘stop dancing’” he laughs. The story of Tempoe’s desire to create music starts in Lagos. Having previously attended a Catholic Church, a change in his living arrangements led to him joining an Anglican Church after moving in with close family friends. This change proved to be significant as the music in his new church sparked a deeper intrigue within Tempoe, and at the early age of 12, led to him joining the church band. “Music in Catholic Church is very, very slow. In the Anglican church, it can get very vibey sometimes. That interested me. I now wanted to go to church to learn instruments. They play the drums, the worship is crazy. They’re lively. Way livelier, and I just wanted to be a part of whatever that was. It was the first time I saw people playing the drums, the guitar, the bass. That did a lot for me .” His time with the band proved to be an invaluable learning experience. This would be a haven where he first learned how to piece music together, whilst he both played and experimented with instruments. "The church was where I really learned how to arrange music one way or the other. Even though I had my own ideas and couldn’t wait to implement them, they definitely rubbed off on me. The way I make music, the way I arrange music ." Where there is room for elevating, stagnating has never sat well with Tempoe. His determination to explore sonics and sounds led to a decision of leaving the band in search of more. The quest for more than the band could offer led him to a popular market in Lagos, where Tempoe was able to dabble into another aspect of his multi-layered interests, technology. Tempoe came across FL studio, a music production software, which enabled him to merge his love for music and technology. “I was using my aunty's laptop at the time, and she had no idea I was making music. I then worked in the tech industry for a year or two. Just web design and I got into applications, but I realised that I would always find a way to make music at the office. I stopped reaching my quota at work and started showing my colleagues my beats. They would ask me why I am here ?” Tempoe’s first true foray into the music industry came when a fellow Nigerian producer by the name of Ckay caught his attention, and he couldn’t resist the urge to connect and give him his flowers. “I think I met him when I was 20. I got his number somewhere. He produced a song I really fucked with at the time. I don’t really hit producers up about ‘let's work’ but I heard this something I really like, like ‘damn whoever produced this is crazy’. In the end, I sent him some stuff. He heard them, fucked with them. I went to meet him and we just connected. We made his first single Nkechi Turn Up which we co-produced. We’ve done a bunch of songs together." One of those songs has turned out to be a global phenomenon which has taken the world and social platforms by storm. 2019 saw Ckay and Tempoe join forces to create the international hit Love Nwantiti ’ . A remix of the song soon followed in 2020 featuring Nigerian singer/songwriter Joeboy and Ghanaian singer/songwriter Kuami Eugine which proved to be a masterstroke. Soon enough, you couldn’t go anywhere without hearing Love Nwantiti on someone’s TikTok, Instagram reel, or playlist as the song took flight in a way Tempoe nor Ckay could have ever envisaged. As it stands, there are currently five different versions of the song, with the original amassing over 300 million Spotify streams alone. It was ranked number one on Shazam's global charts, peaked at number three in the UK Top 10, and reached the Top 30 on the Billboard Hot 100, with over 1.2 Billion streams to its name and counting. To call the song a success would be an understatement, to say the least. “I feel really blessed. I feel honoured by God. It’s so huge. Sometimes it doesn't feel real. It’s so big right now. This is 2019 sonics and that's what's driving me. I can’t wait for people to hear everything that’s about to come out of Nigeria and Africa. Just watch .” Tempoe can lay claim to being one of the most prominent and well-renowned music producers in the game today. His catalogue is as rich and sonically pleasing as they come with the likes of Omah Lay’s Godly and Understand , Joeboy’s Sip (Alcohol) , and most recently Savage & Buju’s collaborative hit in Confident . A key aspect to the journey of Tempoe’s life and career so far has been self-discovery. A steely determination to explore and unearth for himself has led him down the path of being titled a superstar producer. “I didn’t have any grand entry into the music world. I also didn’t have anyone to teach me. I kind of figured everything out myself, and I’m still doing that today.” The rise in popularity of social media apps coincided with the ever-growing global ascent of a genre like afrobeats, which haven’t always been afforded mainstream coverage. An ascent that goes far beyond Africa or pockets of African diasporas. Tempoe is extremely proud of his role in spreading the music of African heritage and giving it to the world to absorb. “ What afrobeats is doing, I don’t think anybody saw this coming. We have things that the world needs to hear and if they do, they’ll love it. With the help of social media, it’s connecting the whole world in a way that’s unimaginable. Different cultures have access to different music. ” Despite this success, Tempoe is well aware that there’s a long way to go for afrobeats and remains determined to play his role in elevating all aspects of the music. “ I’d really like to see more Nigerian producers get more spotlight, so people can know who these guys are. If we can nail this part, credit, business wise, that would be amazing. DSP’s need to show more love to producers. People want to know who made this beat. Sometimes I hear a song and think ‘who made this' and can't find anything. That’s messed up. There’s definitely been growth, but there's more that can be done .” The success Tempoe has attained so far is something he is extremely proud of. Yet, the feeling of pride that comes with such monumental achievements, is balanced with a burning desire to give more to the world. Tempoe is excited by the new music that he will be releasing in 2022, steadfast in the belief of his musical growth over the last two years. “People love this shit, so why not give them more. It’s something I have fun doing. I’m having fun just realising everything that’s happening. I didn’t know I wanted to make an EP until I wanted to make an EP. I'm enjoying the music, whilst taking my time with it. People are going to enjoy.” Previous Item Next Item From as early as he can recall, music has always been a true love for Nigerian-born, music producer Tempoe. So much so that as a child,...

In Conversation With: Rvdical The Kid Listening to Little Planet, you can’t help but feeling like you’re travelling. Rvdical’s latest EP easily transcends the ability to be defined by a definitive genre and weaves between Alt-afro, hip-hop and R&B. Rvdical is part Nigerian, Beninese and Ghanaian; born in Nigeria, raised in Benin and Baltimore, and he’s recently settled on living in Accra, Ghana. All these identities have influenced his nomadic spirit and his eclectic sound. I asked him how he finds channelling all parts of his identity into his music, “I’m definitely global. I feel like I allow all those parts of myself to express themselves naturally without putting too much thought into it. “I have so many influences so being more of a musician, I feel like I’m a sound curator. I like when you listen to a song, you feel a dejavu type of moment. I do not know if it’s informed from all these cultures, I just know it’s coming from me”. But Rvdical hasn’t always made the music he makes now. Just like his migration journey, his sound has been one that straddles continents. “ I started making music just after high school. I listened to a lot of French rap and Southern Music. Trick Daddy, YoungBloodZ, Too $hort, 3-6 Mafia, Cool and Dre, 8Ball, MIG, Fat Joe when he was working with Cool and Dre, The Runners. I learnt a lot of drum programming and bounce from them”. It wasn’t till he started studying at the University of Maryland did he begin to journey to his current sound. He later linked up with the likes of Tech Lume and EU-iv to melodically find his feat. Despite living in the DMV area, Rvdical never ventured into Go-go, the funk subgenre and distinct soundtrack of Washington D.C and wider areas within the DMV. “I never really got it into Go-go. I liked it but it felt very much culturally, I just felt like I didn’t belong”. Go-go is a very regional sound birthed in Washington so for an African migrant, it was understandable why he felt it difficult to slot himself into this cultural experience without feeling like an intruder. The global pandemic brought the entertainment industry to a standstill. Even 6 months since countries around the world went into lockdown, there is still no certainty as to how concerts and the industry as a whole will operate. As Rvdical explains, the lockdown brought a much needed respite from his round-the-clock schedule “It [lockdown] felt like a break. I didn’t have to create, I didn’t create. I didn’t just do anything, and when I got back to it, it was as if I had renewed energy". Much of Little Planet was birthed out of Rvdical’s own dissatisfaction with the world and his interactions, and was birthed from a yearning to escape. “ It really goes back to my interactions on a daily and in real life and how dissatisfied with them”. Another inspiration of Little Planet was the refuge he found in the collective Flo-Fi. “I was a part of this collective in 2014. We were close online friends who never met each other. It was in this world that we sat online, spoke and immersed ourselves in”. Through Flo-Fi, Rvdical found a world in which he was with people who understood him. Having not released music for a number of years, Little Planet feels like Rvdical’s re-introduction. Little Planet is a true embodiment of its name. In a mere 5 tracks, Rvdical invites listeners into his own little planet “I have been able to build strong connections with so many different people across the world, and for me, that’s my Little Planet. I want people to listen and immerse themselves in my world". The sounds on his latest EP are as genre-bending as the sounds which inspired him in his early music years. When asked how he’d describe his sound, Rvdical responded, “It’s blend of that is mainly rooted in hip hop and R&B. It has some electronic influencers, some house influences, some lo-fi tendencies. Have a listen to Rvdical’s Little Planet below: https://platoon.lnk.to/littleplanet Previous Item Next Item Listening to Little Planet, you can’t help but feeling like you’re travelling. Rvdical’s latest EP easily transcends the ability to be...

In Conversation with: Kill Miami Award-winning DJ, producer, and broadcaster Kill Miami has made waves internationally in the back and foreground of the music industry. Now, he’s assisting artists alike to navigate the world of syncs - where music is placed in TV, film, games, etc. Alongside producing for artists such as IAMDDB, 67, Ocean Wisdom & more, Kill Miami has also founded Wavze: a ‘speciality hip-hop/trap/rap music resource for easy access to rights-cleared content by the most relevant emerging talent of today…’ I caught him on a call just before a studio session to chat about stepping into the world of sync and crossovers between DJing and producing. The Floor: I know it’s super recent so I have to say, congratulations on winning a Silver Telly Award! Kill Miami: Yeah, I didn’t even know I won that, I found out about that through LinkedIn. So I was just scrolling through LinkedIn then one of my friends at EA had posted “Congrats to the team for winning this award for this AD” so I looked at it and was like I’m pretty sure I did the music for this AD then I checked and yeah I actually did. I should be receiving my trophy soon or some sort of plaque at least! That’s great, another piece for the collection! Loads of producers start as musicians and can play the piano or some type of instrument - how did you start? More through DJing, to be honest, I was a DJ before I was a producer. When I was like 16/17 I was into electronic music and I was going to gigs/shows seeing DJs for the first time- very inspiring. Then I started learning how to DJ then through that got into production. When I was about 18, I was about 21 when I started taking it seriously, so it's been a lengthy process. I wouldn't say I had the standard natural way into the music industry… I kinda had to make my own way up, make my own connections, teach myself everything via youtube a lot of the time. I didn't learn any instruments when I was younger. Do you reckon the ability to DJ and Produce cross over much? Definitely. The early productions I was doing were kinda mash-ups/DJ edits. And you could even argue a lot of productions nowadays are sample-based and some DJs are producers at the same time. But yeah, the synergy between those definitely came through, it was kinda natural to get into production from there. They are both different zones though, in a way, with DJing you’ve got the crowd but producing is a lot more internal. You’ve done shows in loads of places from LA to Manchester to Weston, but do you prefer that crowd element or being away in the studio zone? A great thing about DJing and when I’m playing in set places a lot of the time I’m just playing music I like or music from the artist I work with and I always kind of gauge it by the audience. At the end of the day with a lot of DJ sets, I'm there to entertain not to educate so I'm just trying to make everyone have a good time and see how the crowd reacts. Because even though I've played in all these places I’m not like Diplo, for example, so I can't just play whatever I want. With production, I think they're about the same in terms of enjoyment level. I don't think I enjoy one more than the other. DJing I get to do a lot less than production, cause I'm in the studio all the time every single day. Whereas with DJing, there haven't been any shows in ages. I would say the enjoyment level is the same, if I could do more DJing I definitely would. I hear it, there really is something about performing in front of a crowd. Your productions have travelled far and wide too, via syncs from places like FIFA & Remy Martin - how did that come about? Yeah, so I run a company called Wavze which is essentially a music sync platform amongst many other things: bespoke productions, music licensing, music talent & supervision. We work with a lot of brands and clients internally, EA Sports being one of them. It’s multiple seeds that have been planted over 3-5 years. It’s the same with the Remy Martin and Nike jobs. So someone over in 6LACK’s camp had seen a video that I did for Bugsy Malone and JD sports which had more of an orchestral feel to it and they were doing this video for RM that they wanted this similar feel for so the director on the shoot requested me directly to do the compose the music for it. So that's kinda how that led into that. It’s like if I hadn't done the Bugsy Malone shoot 2 years ago I might not have been contacted for this job, so it's all pieces to the puzzle. Lots of different links in chains that go to creating these relationships and it’s the same with the artists that I work with like Ocean Wisdom, I'm working with him a lot and hopefully coming on tour with him, I did his last tour as well. And you know that relationship was through his management. Awesome, I love the world of sync and it’s such a great space to tap into in the industry, what led you to start Wavze? Syncs only recently, in the past 2/3 years, are something I've started developing. Starting up the company helped a lot and the partners. I’ve always been into movies and TVs, the end goal is to do a movie soundtrack so it’s something I’ve always been into but so difficult to get into. I think it’s quite a closed-door thing unless you know the right people but that's something my company is trying to eliminate. Helping emerging artists and emerging talent get their foot in the door with these brands. We’ve just done the champions league campaign with UEFA and Pepsi which essentially took 9 artists from around the UK, Europe and America then they were tasked with creating custom bars about the players left in the rounds at the time. That’s been a sick campaign to work on and every artist involved has come away with placements for both companies and some cash. That kind of link just isn’t there without a middleman like myself. Between a big corporate company like Pepsi or UEFA and emerging artists, there's such a disconnect. The conversation to connect them isn't being made at the moment, that's what we’re trying to do at Wavze. Previous Item Next Item Award-winning DJ, producer, and broadcaster Kill Miami has made waves internationally in the back and foreground of the music industry....

We Are Lady Parts Captures The Islamophobia Visible Muslim Women Face In today’s highly digitised era, most social-media savvy young adults find the idea of internet virality appealing. While most would fawn at becoming the next TikTok sensation, the reality is stark for muslim women whose experiences are obscured by cyberharassment. Channel 4’s latest sitcom We Are Lady Parts , premiering this year in May proved to be more than a piece-meal offering towards on-screen diversity. Writer, director and producer Nida Manzoor successfully reconciles the competing tensions muslim women face towards not seeking a digital footprint but actively imagining ways to leave our mark on the world. The joys and pitfalls of being a member of an all-woman, muslim Punk band are explored through the eyes of the show’s 26 year old protagonist, Amina Hussein who’s finishing a PhD in Microbiology. When she isn’t starring as a guest on the Bacteria Digest podcast, she’s desperately seeking a traditional muslim husband to impress her friends. At one point in the show, she realises the risk of her depleting social status and asks a platonic friend to pretend to be her date at an engagement party. Just as the show runs the risk of revolving Amina’s character arc around her love, she’is invited to a band try-out and thrust into an exhilarating whirlwind of Rockstar life. When a famous blogger approaches the group about writing an article about them that could potentially result in more gigs, the conflict of interest is introduced. A social media presence would contradict everything the band stands for. In the lead singer Saira’s words, doing so would be promoting corporate sanctioned music. With generic representation on the rise, what the show does best is its emphasis on nuanced characterisation. Here, representation of the “more” marginalised muslim women isn’t levied as a mere plot device or a means to a fully-fledged character arc. There is no “coming-out” scene to allude to the band’s drummer Ayesha’s queerness, she simply is . While the significance of coming-out scenes should not be understated, Ayesha doesn’t justify her sexuality to her bandmates nor to the audience either. Similarly, Momtaz, the band’s manager doesn’t ever need to justify wearing a niqab because the show was created by and for muslim feminists, instead of dishing out a voyeuristic glimpse into the lives of muslim women. The message put forward by the public is that “ muslim women are either oppressed, or complicit in their own oppression, but always in need of liberation ”. Manzoor begins challenging liberal feminist tropes when Ayesha starts dating Zarina, the blogger who plans to interview Lady Parts. Though Zarina isn’t white, she projects the liberal feminism that demands martyrdom from queer muslim women. When Ayesha rejects being publicly represented as a queer muslim woman, Zarina response is to gaslighting her. “You’re punk. Aren’t you not supposed to care what people think?” she asks. Though representation sounds blissful in theory, it is often the root to muslim women’s susceptability to online abuse. White women don’t face the burden of representing entire communties so why do muslim have to? When Lady Parts goes public, and the article goes live, it’s unsurprising that they’re subjected to torrents of abuse. Seeing hashtags like #fakemuslims and #banladyparts begin to trend was difficult to watch because it nearly smothered the band into a breakup. Though fictitious, their experiences of cyber harassment must be related to the the price muslim women in the public sphere pay for social capital. Chitra Ramaswamy's review of the series is particularly insightful. The show first began as a Channel 4 comedy “blap” , an initiative which previously supported the likes of Chewing Gum and Game Face. According to Chitra, the show is apparently “ the only blap with comments disabled on YouTube”. A study by Nabamallika Dehingia, writing for eTAG, revealed that “women who experience online abuse often adapt their online behaviour, self-censor the content they post and limit interactions on the platform out of fear of violence and abuse”. This conversation is not just about freedom of expression or lack thereof but the monetary outcomes of gendered censorship. For most muslim women, this surveillance and scrutiny isn’t limited to social media, but extended offline to private spaces, through family and friends. Up until this point, Ayesha hadn’t told her best friend about the band out of fear of being isolated. When news of the article breaks, her friendship group storms her lab before dispatching the verdict that she must be ostracized. As Noor delivers the deathly blows, the fragility of “well-intentioned” muslim womanhood is exposed. Noor is strikingly reminiscent of Whatsapp-conspiring muslim aunties who are more interested in the shock-value of publicly shaming muslim women rather than fostering feminist values within our communities. In light of the domination of genres like rap, r&b and pop within the mainstream music market, audiences may question Manzoor’s decision to situate the show within an alternative genre like rock. However, no other genre would be as relevant in accompany this radically-charged show. If anything, punk music’s roots of counterculturalism and defying the status quo are everything the band stands for. With punchy lyrics such as “I am Babylon, I’m Iraq, I am Hackney after dark” and “I’m a woman, I’m a preacher, I’m Madonna and the whore”, we’re convinced that girls that pray together truly play together. Though the internet has proved to be far from an equal space, nothing says punk more than muslim women who rage in the face of the shame. Previous Item Next Item In today’s highly digitised era, most social-media savvy young adults find the idea of internet virality appealing. While most would fawn...

The Michelle Obama Podcast: Reflective, Candid and Conversational Former FLOTUS (First Lady Of The United States) Michelle Obama has released her eponymous debut podcast, The Michelle Obama Podcast . The Spotify exclusive features some exceptional guests and has already served us some eye-opening conversations in just nine episodes. Having already read Michelle’s memoir Becoming and watching the Netflix documentary of the same name, I was excited to dive into her latest project. Michelle invites close friends, colleagues and loved ones onto her podcast to explore the ways in which our relationships and connections shape and define us as individuals. It's easy for a podcast about relationships to be quite cliché but Michelle does a great job of dissecting them from lots of interesting angles and taps into some of the relationships we wouldn’t normally think about (our connections to our communities or our bodies for example). Debut episode, ‘ President Barack Obama ’ features Michelle in conversation with the former President. Through the lens of their childhoods — Michelle growing up with her parents and brother on the SouthSide of Chicago and Barack, raised by a single mother and then by his grandparents in Hawaii — they tackle the core impact their communities had on their development and how the breakdown of such key structures has affected society at large. Before his political career Barack was involved in grassroots community work in Chicago, making him the perfect choice for this episode. His community work is an aspect he touches on in his own book Dreams From My Father: A Story Of Race And Inheritance and Michelle does the same in Becoming . Their approach to the issues they discuss matches the depth of each topic and their genuine, light-hearted banter makes this a great introduction to the rest of the podcast. ‘ What Your Mother Never Told You About Health ,’ is the third episode and the highlight of the podcast so far for me. Michelle and close friend Dr Sharon Maloney, dissect the relationships women have with our bodies and with their health. The focus may be on women’s bodies, but Michelle positions this as a conversation for men to also be a part of. Dr Sharon, an OBGYN, highlights the importance of opening up these conversations as women’s bodies and health is still such a shrouded and unexplored topic. ‘Growing up Robinson’ features Michelle’s older brother Craig Robinson. This is a really light-hearted episode and gives listeners a nice break from some of the heavier, meatier subjects the podcast covers. The siblings reflect on their childhoods and the lessons that were instilled in them from a young age. Mentorship is the focus of episodes seven and eight, ‘Working with Women’ and ‘Across Generations.’ On ‘Working with Women,’ Michelle is joined by her former boss Valerie Jarrett (when she worked in public service) and it’s a particular favourite of mine as it goes into detail about connections we don’t talk about enough — workplace relationships. Our spaces of work should make space for us to exist as multi-layered beings with family commitments, health concerns or anything else that occupies our time outside of work. Valerie talks about how she set a positive tone in her place of work by taking calls from her daughter even during crucial meetings and Michelle spoke about how this small action provided a vision for her as a working mother. Michelle has mentored lots of young women through her mentorship programme at the White House and still continues to do so. She looks at mentorship as a two-way process — a mentor has great responsibilities as the role model, but there are also things a mentee can bring to the table as well. Aside from the candid conversation, the podcast also features an iconic soundtrack. Stevie Wonder created the podcast’s intro track and music from some of my favourites, Mereba, Ari Lennox, Steve Lacy, Lianne La Havas and Arlo Parks are scattered throughout. The sounds are diverse and set the tone and general vibe of each episode. All the tracks from this season have been collated into a playlist, Vol.1 The Michelle Obama Playlist which you should definitely check out. If you are familiar with Michelle’s previous projects, you’ll recognise the same tranquil and intelligent energy that follows her. Through simple and profound conversation, ‘The Michelle Obama Podcast’ shows us the power of our stories, relationships and experiences as human beings. The subtle power of inviting her close friends onto the podcast creates a sense of ease and genuine conversation that resonates with listeners. Becoming her memoir and documentary delves into Michelle’s past and although the podcast does something similar, it also looks at our current climate as well as into the future. Previous Item Next Item Former FLOTUS (First Lady Of The United States) Michelle Obama has released her eponymous debut podcast, The Michelle Obama Podcast. The...

This Week In Theatre: Shifters and The Big Life Between Windrush dreamers and two ill-timed lovers, this week’s theatre trips were touching, funny and romantic. Shifters - Bush Theatre ⭐️ ⭐️⭐️⭐️ Starring Heather Agyepong (School Girls, The Power) and Tosin Cole (Doctor Who, One Love) Shifters tackles the old-age trope of ‘right person, wrong time’ through the lens of Des and Dre. With dream lighting which carefully reflects the moods of both characters, Benedict Lombe’s debut play examines the epics of young love in a concise one-hour 40-minute run. Heather and Tosin have stunning chemistry, seamlessly carrying this weighty two-hander through humour and passionate monologues. They soften one another, challenge each other and in their youth, perform a dance akin to peacocking; their early love blossoming on stage. Lombe’s writing is intimate in the romantic moments, playful in the humorous scenes and left audience members gasping with each revelation Des and Dre peel back about one another. It looks into their backgrounds and cultural differences with care, highlighting their differences and similarities. Des is British Congolese, the daughter of a middle-class neurologist whereas Dre is British Nigerian, living with his Grandma. She has dreams of becoming an artist, his dream, to be a restaurateur. Both experience trauma; Heather and Tosin hold each other up seamlessly in these moments, delivering emotive, rousing dialogue the way only lovers can. Des and Dre are laid bare through Alex Berry’s staging which was stripped back and lends itself easily to any one of the scenes our couple find themselves in. There’s no ‘real’ set, instead, the sum of their relationship can be confined to a few boxes, which serves as storage for props alongside seating for the more intimate conversations. It could have been easy to get lost in the back and forth of Shifters ageing and de-ageing process, but it’s surprisingly easy to keep up with. With every age shift you can see Tosin and Heather leaning into the emotions that come with the new storylines. Shifters is ultimately for fans of long-lost loves, what-could-have-been and spinning the block. Shifters runs at Bush Theatre till 30 March . The Big Life - Stratford East ⭐️⭐️⭐️⭐️ Originating out of Jamaica and inspired by Louisiana Rhythm and Blues, Ska music has always had significance in the UK music scene. Giving a voice to this sound as well as Caribbeans of the Commonwealth, The Big Life is a revival 20 years in the making, inspired by Shakespeare’s Love's Labour's Lost. Starring Nathanael Campbell, Khalid Daley, Karl Queensborough and Ashley Samuels as Bennie, Dennis, Lennie and Ferdy these men are taking London in their stride. Their counterparts show up the form of Sybil, Mary, Zulikela and Kathy (Gabrielle Brooks, Leanne Henlon, Rachel John and Juliet Agnes), four no nonsense women who won’t be so easily charmed. The Big Life gives life to even larger on stage personalities with each cast member tackling their individual songs with amazing vocals. The group numbers are humorous and every cast member has an innate sense of when to hold back and pull no punches during their performances. Infusing further humour into the play is Eastenders’ actress Tameka Empson, who plays fourth-wall breaker, Mrs Aphrodite. Empson also serves as the play’s writer alongside lyricist Paul Sirett. Empson’s character is full of appreciation for the Windrush Generation, a passionate line is expelled about the ongoing fight for compensation but she never keeps the mood somber for long, with joyful audience participation theatres like Stratford East are synonymous for. Despite the racism and intolerance faced by our eight leads, they still overcome with grace and dignity at each turn. Through job refusals and familial deaths, they highlight just how strong members of the Commonwealth had to be when coming to the ‘motherland’. Well-paced and loads of fun, The Big Life is worth catching before the end of its run on 30 March. It’s proof that twenty years on, the conversations surrounding those who contributed so much to this country are just as relevant. The Big Life runs at Stratford East till 30 March. Previous Item Next Item This Week In Theatre we're reviewing the revival of 20-year-old, The Big Life as well as the debut play Shifters.

Lovecraft Country Review: S1E5 'Strange Case' “I enjoyed my entire day using the only currency I needed, whiteness” If I had to assign an overarching theme to this episode, it would be 'privilege personified'. There is an overt storyline that is riddled with favour and opportunity as seen in Ruby's or should I say Ms. Hilary Davenport’s escapades. Ruby's literal metamorphosis that temporarily changes her into a white woman lets her character and viewers alike explore the disparity between the black and white experience- from the explicit to the nuanced. Although her journey may be the secondary plot within the episode, the wackiness and intrigue of the concept took centre stage. Yes, a black woman breaking out of white skin covered in blood would catch the attention of many watching, but the parallels between Montrose's and Ruby's arcs also need to be drawn. Tic's father also experiences both privilege and transformation, just not as literally or as physically as Ruby. Instead of masking race behind a facade, Montrose shields his sexuality away. In a completely unrelated event that leads to Tic beating his father senseless in a fit of rage, Montrose's appearance is forcibly altered with bruises, bumps and a black eye- removing the smug and stern exterior we are used to and replacing it with something far more vulnerable. In that state of defencelessness, we are introduced to his 'love interest' and an arguably different side of the character we are familiar with, Frank Ocean's Bad Religion complements a scene plagued with Montrose's self-condemnation and rejection. As those that sit on the fringes of 1950s white America, not only as black people but with the intersection of gender and sexuality, “I don’t know what is more difficult. Being black or being a woman”. Even though Ruby has discovered how to be black without the discrimination that goes with it, she is still within the male gaze constantly, and witnesses sexual assault. Ironically her benefactor (William/Christina) does the opposite, with Christina only posing as William to escape the limitations of being a woman that threaten her progression in the Sons of Adam, her race is not a barrier. Ruby and Montrose both see their situations as curses before coming to terms with their identities, which is why the metamorphosis of a caterpillar into a butterfly on the TV was the perfect voiceover for Ruby's first 'shedding'. Ruby’s assumed whiteness is juxtaposed at first to show that she’s not comfortable with the privilege. Shange’s For Colored Girls Who Have Considered Suicide / When the Rainbow Is Enuf plays over her white body walking down the street, tying into the idea of identity but also in a peculiar way which shows that her joy as a black woman is unregulated in that of a white body due to the problems racism posed in that era. The role of both Montrose’s lover and Ruby's benefactor play a huge role in their overall change. They were both reassured and affirmed by interested parties. What differs is the reason that they were interested, which ultimately forks their paths towards acceptance. For example, Ruby uses privilege to inflict her twisted sense of justice, whereas Montrose finds a form of relief and freedom in who he truly is. Although Ruby's ending can be seen as oddly satisfying given her background in trying to get a job in a department store despite being overqualified, her story is also a commentary on the corruption of power through privilege. Instead of uplifting the black sales woman that works under her, Hilary/Ruby ends up belittling her due to the sales woman's own type of privilege: pretty. When Ruby realises that the other woman didn't have to take courses or work as hard as her to secure the job she dreamt about, her tune changes for the remainder of the episode. Maybe as Ruby, she would not have projected how she felt, but within her white body the limitations on her conscience were little to none. Montrose is arguably the most complicated character in the show. He is layered with emotion, trauma and guilt that stop his true persona from rising to the surface. On top of that it isn't hard to see that he feels deeply misunderstood on both a micro and macro level through individuals like his son, Tic and his 'boyfriend' Sammy; but also, when it comes to his queerness in wider society. Though I described him in the same bracket as Ruby by embodying privilege, in his case as a straight man, the latter scenes of him dancing in the club without a care suggest that the privilege was more of a cocoon that he needed to break free from in order to complete his transformation. The symbolism that ran throughout this episode is crucial for black viewers that have ever had that "what if?" moment, in relation to Ruby’s transformation but Montrose's tale is also one that cannot be overlooked. Apart from adding dimension to a personality first thought to be stubborn and dogmatic, it also gave those watching a window into how hypermasculinity and queerness still cause friction on an individual community level, especially for black people. Previous Item Next Item “I enjoyed my entire day using the only currency I needed, whiteness” If I had to assign an overarching theme to this episode, it would...

Film Review: Binti While the Tanzanian film industry has offered different portrayals of Tanzanian womanhood over the years, there is still a general lack of curiosity about contemporary stories. What it currently means to be a woman in Dar, the expectations (those you have of yourself and those put upon you), and the way they shape our lives has barely been explored. And often the exploration has not been told with the specificity that would make audiences feel like their stories have been pulled from memory, before being stretched out on the big screen. Directed by Seko Shamte, Binti is by no means exhaustive in the exploration of contemporary Tanzanian womanhood, and I’m not sure it should be expected to. What it does really well however, is reflect back at us four different kinds of recognisable women, going through four different kinds of recognisable struggles. You have, Tumaini (Bertha Robert); this steadfast woman who has to play daughter, entrepreneur, and sole provider all at once despite all the structural odds against her. You’ve got Angel (Magdalena Munisi) who finds herself tangled in an abusive relationship with a man that attempts to kill her; and then Stella (Helen Hartmann), whose desire and inability to conceive a child nearly drives her to insanity; and lastly, Rose (Godliver Gordon), a mother struggling to cater to a son with special needs, alongside her own career and personal development. As the film’s tag-line It’s hard being imperfect reminds us, none of the four women are faultless- their predicaments lead them to making their fair share of mistakes. But also, that it’s not their fault that they are put in these predicaments to begin with. The quest to fulfil an arbitrary expectation of womanhood puts them in near-impossible positions. Through illuminating this dilemma, the film does a good job of subtly revealing the contradiction: what happens when these same expectations that burden us are also our heart’s desires? The film also asks us to consider how much of a difference our material realities can make on the lives we have. Two girls, Tumaini and Angel go to school together and end up in very different circumstances. Two women go to the same private clinic, but while Stella is able to try and try again with less financial worry, Rose has no choice but to reckon with how expensive caring for her son is. The lead up to Rose, performed so heartily by the powerhouse that is Godliver Gordon, choosing to take their son to stay with her mother is heartbreaking to say the least. But there is something to be said for a culture where care and community extends through generations. That motherhood is seen as a shared responsibility between the women in your lineage is such a compassionate (and realistic) way to share the accountability of raising children. It’s such an elegant embodiment of the saying “ It takes a village .” Of course, in the case of Binti , audiences will notice that it might not have had to get there if the husband, James (Jonas Mugabe) was willing to shoulder more responsibilities. A recurring theme in the film, and a common occurrence in real life, is that each woman is failed by the man in her life – and for Tumaini, by the man who chose not to be a part of her life. Much of the film keeps you in this inward space- audiences are privier to the women’s internal battles. But it would be remiss not to mention the cruelty of the men’s treatment- and the range with which it can show up in the lives of women. It’s perhaps easier to name Ema’s (Yann Sow) actions as brutal, and the absent father of Tumaini as neglectful. With Ben (Alex Temu) and James, however, their actions are shrouded with a veil of me too-ness. It’s even tempting to want to understand that of course, they too share in the pain of their wives. But while they take any opportunity to hit pause and detach (and they do; we see James lie about a work commitment to skive taking care of his own son) the women in their lives have to continue to endure. Each of the women cross paths at some point, which culminates in an ambitious sequence at the very end of the film. We see Rose step into a pivotal moment in each of the other women’s lives as if it was actually her living through each of their experiences. At the risk of flattening the specific lived experience of each woman, the surreal imagery hints at a sense of a common struggle. That it could be any of us. Regardless of how far along the journey of unshackling yourself from patriarchal chains you may be , Binti coaxes you into empathising with just how heavy these chains can feel, and how they will never disappear as long as another woman is still trapped. Previous Item Next Item While the Tanzanian film industry has offered different portrayals of Tanzanian womanhood over the years, there is still a general lack...

In Conversation With: Iyamah I’ve heard a couple of Iyamah’s tracks before in passing, however after fully immersing myself in her catalogue, I was captivated by the gorgeous combination of neo-soul & Jazz. Her stage name (pronounced I-YA-MUH) originated from her Nigerian roots, “my surname on my dad’s side is Ayamah so when I came across the name, it just resonated with me. I grew up quite confused with my identity and stuff like that, so I instantly just saw I-yamah as a reclaiming of myself and putting an end to constantly questioning who I was. I think people have this thing where they try to go back to their roots and search for the history of who they are, like their ancestors and stuff. Some people have the urge and some don’t, but I’m definitely a person who is always trying to discover the truth and the reason why I like certain things that I’m drawn to. Also, being mixed race, you always feel like you don’t fit in anywhere, so I was always searching for something to give me that sense of belonging”. As someone who grew up in an area that was predominantly white, I also searched for that sense of belonging, but I was fortunate enough to live in London where there are so many black people. I wondered if growing up in Brighton affected this process. “There are a few of us mixed raced kids in Brighton – it is primarily white, but there are a few of us so I never felt like an outsider. Also, there’s a lot of culture; there’s a big rasta community, a lot of reggae, so in terms of diversity, it’s really celebrated in the music and the art that you get down there. I had this sense of belonging because I had a couple of people in my life that gave me that. However, when I moved outside of Brighton – it was only a 20-minute drive, but it was outside – there was no culture, it was very conservative, and I was the only black girl in the entire village; it was literally a village. That was when I became aware that I was the only one and I began to feel very conscious of my skin, my hair; I started straightening my hair and stopped going in the sun. When I was about 12/13, though I had never experienced racism – I still had white privilege; I had a white mum who raised me – I realised there were subtle things [microaggressions] that made me very aware that I looked different. It’s [the differences]beautiful in a way, but when you’re a kid you just want to fit in and be like everyone else. When I moved back to Brighton for college, I was already so conscious from before it that I became aware of how predominantly white it was, and I always had problems with my identity that stemmed from that. It would’ve probably been easier if I’d had my father’s side to teach me about my roots, and so it wasn’t until a few years ago that I discovered more about that side, which started when I moved to London”. Unsurprisingly, her experience in London was nothing like where she came from, “it kind of went the whole other way for me. Suddenly there were so many of us from different backgrounds, so many of us from around the world that you can’t feel like you’re alone or an outsider, because we’re all here, you know? It was amazing because for the first time ever, I actually wanted to stand out – I was going to uni, had started to take my music seriously, and it was sort of, like, my fresh start. I was like, well now, I want to stand out”, she laughs with fondness as she recalls the memory. “Let me retrace and go back to those things that I was trying to hide away; how can I rediscover those things again, what was it that made me different? And they’re the things that made me the artist that I am today”. The conversation naturally progressed to her creative process and how she writes new music. “It’s all just inspiration to be honest. I can’t force myself to write unless I’m feeling, like, a really strong emotion. It probably does relate back to when I was in school, feeling different and stuff, but I didn’t want to draw attention to myself. Instead of bringing those issues and conversations up to my friends – they couldn’t relate anyways, I would go and write them down as an outlet, just as a way to express and work through how I was feeling, because I couldn’t quite work it out. I’ve got a very busy brain as well which makes it quite difficult to process it all in my head, it isn’t until I get it out, either by writing or speaking, that I’m able to make sense of it. And I always found that it just made me feel better; making something that could be quite a negative emotion into something that makes sense. The first songs I wrote were quite depressing because they were coming from loss, grief and feeling misunderstood, but more recently it’s coming from a place of empowerment – of getting through something and coming through to the other side, because I really feel like all the struggles that I’ve had, there’s big lessons from those things. I also found that I became the one that my friends would often come to for advice and stuff like that, and I think my music embodies that”. Self-identity is a journey that so many of us go through, especially the generation that grew up alongside social media, and I couldn’t help but hear the wisdom when she told me “the past is linked to the future, which is linked to who you are now; it’s all connected. If you know where you come from it can give you a better idea of where you might be headed”, words I found to be very similar to the famous quote by George Santayana. Whilst we were on the topic of journeys, (albeit kind of abruptly) I decided to take the opportunity to discuss her new single ‘KYWK’ (kill you with kindness). I had stumbled upon it during one of my YouTube rabbit holes and I really identified with the sentiment of the song - letting go of the struggle to try and shield your truth from someone because you’re afraid of hurting them. “When you’re young and you’re trying to fit in, you get that whole ‘people pleaser’ thing, and I was always going out of my way to make someone else happy. In my early 20’s, I found myself getting into relationships where it wasn’t about putting myself first, it was always about making sure the other person was okay, and I was living up to their expectations all the time. I came to a realisation recently, literally this year where I said to myself ‘d’you know what, I’ve spent so much time pandering to other people that I’ve actually lost myself so much’. It’s a great thing to be kind and to be liked by people all the time, but actually the most important thing is that you’re okay. Sometimes you’ve just gotta put it straight; if the truth is going to hurt someone no matter how you say it, it’s still got to be said”. On the subject of truth, Iyamah gave me a little background behind her first EP, “my whole project is about truth because that’s such a big thing for me; you really have to live your truth and speak it too. I think the more that you can do that, the less it matters what people think. When you conform, you compensate and you end up wearing so many different layers for people, but you get further away from what’s inside, so eventually you get to the point where you just have to keep taking off all them jackets, and be like ‘okay, what am I really about’. You have to protect yourself from that, because you’ll just end up soaking up everyone else’s emotions and feelings and that’s so draining. The resentment is real too” In fear of making the article too long (though I wasn’t quite so successful), we moved on to her next steps and what you can expect. I was pleasantly surprised to hear that her second EP, Truth 2 is being released next week, and we should expect a lot more music. “During lockdown I became super productive and really started to enjoy [the process]. It doesn’t feel like a chore anymore – I’m enjoying finishing stuff which I had a real problem with in the past. I’m also judging myself less because I have my own space – I don’t have other people’s opinions influencing what I think of myself, so this time on my own to just rest has been the best thing”. Iyamah's latest EP 'Truth 2' is out now on all streaming platforms! Previous Item Next Item I’ve heard a couple of Iyamah’s tracks before in passing, however after fully immersing myself in her catalogue, I was captivated by the...

February's Bookshelf This month's bookshelf is made up of 8 spicy, hearty, diverse romances picked by self professed book fanatic John-Paul Kunrunmi . There's something for everyone to indulge in in this month of love. Themes: Marriage, Depression, Grief, Death Summary: Their love was supposed to last forever. But when life delivered blow after devastating blow, Yasmen and Josiah Wade found that love alone couldn’t solve or save everything. Yasmen wasn’t prepared for how her life fell apart, but she is finally starting to find joy again. She and Josiah have found a new rhythm, co-parenting their two kids and running a business together. Yet like magnets, they’re always drawn back to each other, and now they’re beginning to wonder if they’re truly ready to let go of everything they once had. Soon, one stolen kiss leads to another…and then more. It's hot. It's illicit. It's all good—until old wounds reopen. Is it too late for them to find forever? Or could they even be better, the second time around? Themes: Short stories, Retellings, Mythology, Fantasy Summary: A high-born Nigerian goddess, who has been beaten down and unappreciated by her gregarious lover, longs to be truly seen. A young businesswoman attempts a great leap in her company, and an even greater one in her love life. A powerful Ghanaian spokeswoman is forced to decide whether she should uphold her family’s politics or be true to her heart. In her debut collection, internationally acclaimed writer Bolu Babalola retells the most beautiful love stories from history and mythology with incredible new detail and vivacity. Focusing on the magical folktales of West Africa, Babalola also reimagines Greek myths, ancient legends from the Middle East, and stories from long-erased places. With an eye towards decolonizing tropes inherent in our favorite tales of love, Babalola has created captivating stories that traverse across perspectives, continents, and genres. Themes: Fake Relationship, LGBTQIA+, Family, Class Summary: It's been months since aspiring journalist Kian Andrews has heard from his ex-boyfriend, Hudson Rivers, but an urgent text has them meeting at a café. Maybe Hudson wants to profusely apologize for the breakup. Or confess his undying love. . . But no, Hudson has a favor to ask--he wants Kian to pretend to be his boyfriend while his parents are in town, and Kian reluctantly agrees. The dinner doesn't go exactly as planned, and suddenly Kian is Hudson's plus one to Georgia's wedding of the season. If Kian goes, he'll help Hudson preserve appearances and get the opportunity to rub shoulders with some of the biggest names in media. This could be the big career break Kian needs. But their fake relationship is starting to feel like it might be more than a means to an end, and it's time for both men to fact-check their feelings. Themes: Fashion, Forbidden Love, 2nd Coming of Age Summary: Will a forty-year-old woman with everything on the line – her high-stakes career, ticking biological clock, bank account – risk it all for a lusty secret romance with the one person who could destroy her comeback? Jenna Jones, former It-girl fashion editor, is broke and desperate for a second chance. When she’s dumped by her longtime fiancé and fired from Darling magazine, she begs for a job at StyleZine.com from her old arch nemesis, Darcy Vale. But Jenna soon realizes she’s in over her head. She’s working with digital-savvy millennials half her age, has never even “Twittered,” and pretends to still be a Fashion Somebody while living a style lie (she sold her designer wardrobe to afford her sketched-out studio, and now quietly wears Walmart’s finest). Worse? The twenty-two-year-old videographer assigned to shoot her web series is driving her crazy. Wildly sexy with a smile Jenna feels in her thighs, Eric Combs is way off-limits – but almost too delicious to resist. Themes: Dating apps, Social Media, Self-Love Summary: When the love of her life shows up with a girlfriend, Tia decides it's time to put herself out there.Expectations of dating apps are low, so it's a surprise when she instantly connects with handsome photographer Nate. He's everything she's looking for; he makes her feel safe, seen, and desired.Tia assumes they're on the same page - the only catch? They're yet to have "The Talk." In a generation that's normalised competing over who cares the least, can Tia overcome her fears and lay her cards on the table, in the pursuit of something real?The Situationship is #Merky Books' first hilarious, unputdownable romcom! Themes: Young Adult, Coming of Age, Self- Acceptance, Culture and Heritage Summary: Henri “Halti” Haltiwanger can charm just about anyone. He is a star debater and popular student at the prestigious FATE academy, the dutiful first-generation Haitian son, and the trusted dog walker for his wealthy New York City neighbors. But his easy smiles mask a burning ambition to attend his dream college, Columbia University. There is only one person who seems immune to Henri’s charms: his “intense” classmate and neighbor Corinne Troy. When she uncovers Henri’s less-than-honest dog-walking scheme, she blackmails him into helping her change her image at school. Henri agrees, seeing a potential upside for himself. Soon what started as a mutual hustle turns into something more surprising than either of them ever bargained for. This is a sharply funny and insightful novel about the countless hustles we have to keep from doing the hardest thing: being ourselves. Themes: Enemies to Lovers, Career, Sexuality Summary: Successful pediatric surgeon London Kelley just needs to find some balance and de-stress. According to her friends Samiah and Taylor, what London really needs is a casual hookup. A night of fun with no strings. But no one—least of all London—expected it to go down at her high school reunion with Drew Sullivan, millionaire, owner of delicious abs, and oh yes, her archnemesis. Now London is certain the road to hell is paved with good sex. Because she’s found out the real reason Drew’s back in Austin: to decide whether her beloved hospital remains open. Worse, Drew is doing everything he can to show her that he’s a decent guy who actually cares. But London’s not falling for it. Because while sleeping with the enemy is one thing, falling for him is definitely not part of the plan. Themes: Grief, Forbidden Love, LGBTQIA+, Healing Summary: Feyi Adekola wants to learn how to be alive again. It ’s been five years since the accident that killed the love of her life and she’s almost a new person now—an artist with her own studio, and sharing a brownstone apartment with her ride-or-die best friend, Joy, who insists it’s time for Feyi to ease back into the dating scene. Feyi isn’t ready for anything serious, but a steamy encounter at a rooftop party cascades into a whirlwind summer she could have never imagined: a luxury trip to a tropical island, decadent meals in the glamorous home of a celebrity chef, and a major curator who wants to launch her art career. She’s even started dating the perfect guy, but their new relationship might be sabotaged by the dangerous thrill Feyi feels every time she locks eyes with the one person in the house who is most definitely off-limits. This new life she asked for just got a lot more complicated, and Feyi must begin her search for real answers. Who is she ready to become? Can she release her past and honor her grief while still embracing her future? And, of course, there’s the biggest question of all—how far is she willing to go for a second chance at love? Previous Item Next Item This month's bookshelf is made up of 8 spicy, hearty, diverse romances picked by self professed book fanatic John-Paul Kunrunmi. There's...

The Inevitable Rise of Kenyan R&B 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 Wav e, 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. Previous Item Next Item 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...

The Cartoonification of Fashion The comically massive, red, rubber boots have quickly become the internet’s newest fashion obsession, and if you’ve been online in the last week it’s highly likely you have seen them and the divided discourse surrounding whether they’re hot or not. Haven't heard of MSCHF? You were probably privy to the controversy sparked by Lil Nas X’s “ Satan Shoes ” in 2021. They are the same art collective behind these Big Red Boots. Set to release on February 16th, they’ve described them as a “cartoon boot for a cool 3D world”, and they’ve begun marketing with a social media campaign. Images of Sarah Snyder, shot by Garrett Bruce dropped on Instagram on February 7th and immediately sparked a polarised conversation. They have since drawn comparisons to cartoon characters AstroBoy, Ronald McDonald and Candace from Phineas and Ferb, jokingly referring to them as fashion muses. Whilst the practicality of the shoe has come into question, the MSCHF team have expressed that the shoe’s impracticality is completely intentional: "You never design shoes to be shaped like feet," says a spokesperson from the brand. "Big Red Boots are really not shaped like feet, but they are extremely shaped like boots." Now, MSCHF might be onto something here. It’s not as if we haven’t seen an uprising in weird, animated clothing silhouettes - especially footwear. Something we’ve seen coined on social media as “The Cartoonification of Fashion”. 2023 runways had plenty examples: At Loewe, there were oversized pumps (pictured) on their SS23 womenswear runway that drew comparisons to Barbie, Minnie Mouse and Daisy Duck, and have since received the nod from the Jenner sisters. We also saw blurred lines between the real and the fake move away from just accessories and shoes, but into clothing (pictured). We’ve seen the Vetements fur slip-on shoes and JW Anderson more recently sending models down the runway in frog-shaped rubber shoes at its FW23 menswear show. Social media users have since gone on a quest to figure out the origin: But without entering a rabbit hole to figure out where it started, it is safe to say fashion has had a never-ending influence on animation artwork and we are now witnessing the reverse; animation artwork influencing fashion. We’ve particularly seen this with anime over the years. To say the interconnectedness has been birthed recently would be false. The fashion world interacts with the realms of anime in a number of ways, at the surface with fashion magazines mirroring the aesthetic in editorials and major luxury houses incorporating the quintessential silhouettes in their runways, but more recently with somewhat unexpected collaborations. We’ve seen a number of capsules from Loewe (with Studio Ghibli), notably the Spirited Away collection serving as a follow-up from their collection for My Neighbour Totoro in 2021; a Gucci and Doraemon capsule; Balmain working with Pokemon ; and most recently, Jimmy Choo and Sailor Moon (pictured) announced their collaborative capsule on the same day the MSCHF marketing campaign dropped. But before the biggest designers were turning to Japanese anime, it could be said that the cartoon world was looking to fashion for inspiration. Sailor Moon creator, Naoko Takeuchi, often pulled ideas for her heroines’ clothing from designer looks from Chanel, Dior, Thierry Mugler, Vivienne Westwood and others. The Jimmy Choo collaboration is a full circle moment, and also shows us how heavily both worlds lean on one another. Even though it may seem to some that buying clothing like the Big Red Boot, and the pieces from these one-off collaborative capsules, is just trend-led shopping, it could easily be seen as a method of escapism or a way to invite fun and carefreeness into our lives. By adopting maximalism as a norm we are in turn rejecting the confines of traditional sartorialism. Following the pandemic and now entering into a recession, times like this allow for over-the-top, maximalist dressing to act as a distraction from the fact we aren’t living in the best of times. And there isn’t necessarily anything wrong with that. After all, cartoons are deeply rooted in nostalgia and comfort. For many of us, these TV personalities gave us our earliest fashion inspirations. Previous Item Next Item The comically massive, red, rubber boots have quickly become the internet’s newest fashion obsession, and if you’ve been online in the...