On a quiet, suburban street in the heart of Accra, Ghana, the Dikan Center sits inside a tall, mud-colored building complex. Inside, a hum sits in the air — spliced through occasionally by office chatter and the mundane clicks of office equipment. Sitting on three floors, a team of mostly young people buzz around the white walled-rooms that house the machinery and manpower of the Dikan Center’s new archive section called the Awo Institute. ### Awo Institute (__Awo__ means a wise old grandmother in Twi, and represents a repository of wisdom) is an extension of the work that Dikan, founded by **Paul Ninson** , has been doing in storing and collecting archival materials. Ninson first began his foray into archives with a photography library in 2022, the first of its kind in Ghana. “When I started, it was very difficult to find a library, which leads to the bigger conversation of knowledge accessibility,” Ninson tells __OkayAfrica.__ Ninson says the lack of adequate access to African history and knowledge systems on the continent can be traced back to the colonialist plundering of the continent’s historical materials to have them studied in the West. Ninson’s way of course-correcting the issue was by building a library, but he understood that that alone would not be enough. An entire system of restoring and preserving heritage through archives was needed. “The photography library was the seed of Dikan, but the center has expanded its role into a much broader cultural and educational hub,” Ninson says. “The library is no longer just a place for books; it now connects with exhibitions in our gallery, archival research in Awo Institute, community programs through Ahenfie, and our fellowships. By bringing music, oral histories, and visual culture together, we’ve transformed the library into a living space where knowledge is not only stored but shared, debated, and reimagined. It has given the library a new energy, making it part of a larger ecosystem for African creativity and education.” So, while the Dikan library collects and builds a repository, Awo Institute brings history back to life. “Everything is centered around education,” Ninson explains. ### ### The dirty work As Dikan embarked on a mission to begin working in archives and broadening access to African history, the major question was, “Who funds archives? Who funds the dirty work?” It’s a tough question to answer, as many African countries still provide little support or investment to archival or historical preservation efforts. It’s a problem that African researchers and archivists have been grappling with for decades now. “Many of the archives were all dirty, they were kept in a basement which was never shared with anybody, so who's going to fund [the restoration of that]?. The questions for us were ‘how do we build a system, how do we build capacity, how do we train people, how do we make it sustainable?’” A major challenge that came with building an archive center boiled down to the cost of machinery. In countries where archival efforts and research are adequately funded, they typically have access to machinery and manpower that can cost up to $400,000. To work around that, Ninson decided it was best to “build our own machines that work for Africa, and are sustainable.” To save cost, Ninson used different technological parts and processes to build machinery that captures and collects archival materials to be digitized. “I realized that I don't have the resources to buy the $400,000 machine, but I have the resources to buy parts of machines and put them together,” he says. “My background is in photography, so I understood how you can process negatives. I applied the same thing, bought cameras, and then retooled the cameras. Then a friend helped me build some software, and somebody else helped me weld some of the things together, and then lastly, I bought a paddle that captures archival materials with the tap of a foot.” To ensure it worked, Ninson tested the makeshift machine himself for 6 months, tweaking and figuring out how to make it faster and more effective. “The least amount of archives per station is a thousand. The highest we've recorded so far is 2,300 a day.” With the highlife archive being 6.5 million and **Kwame Nkrumah**’s being 82 million, Ninson is determined to create a system that completes the archiving process in a year. ### ### Building systems At the beginning, there was also the problem of archival policies, as well as convincing institutions and academic bodies to part ways with their archival materials to democratize access. “You have to build everything from scratch,” Ninson admits. “We have a conservation lab that does preservation and paper conservation. We have to find chemicals from the U.S. and ship them to Ghana. We brought professors in, we brought people who donated the archives to us, we have vinyl records, CDs, cassettes, VHS, and all these things.” The vision for the new Dikan archival center began two years after the launch of the Dikan Library. “At that stage, it was more feasibility studies and analysis of the state of archives in Ghana and Africa as a whole,” Ninson says. His team conducted copious amounts of research, down to the selection of the building they now occupy. According to him, everything was given immense consideration. “We've built a workflow system like a literal machine. When the archive comes in, we document every single detail. We have a checklist of every single thing.” The team at the archive centre comprises 42 people. They are all multi-skilled and can handle more than one aspect of the archival process. To deepen its work in African music history, Dikan brought on the renowned music scholar and archivist **Professor John Collins** , who also donated millions of rare African music archives from his personal collection. Professor Collins has been helping the Awo Institute with digitizing and preserving his vast collections that range from photographs, field recordings, vinyls, cassettes, and written manuscripts. As Ninson puts it, “This work is especially timely as we approach the centenary of highlife music in 2025. The collaboration goes beyond preservation; we are developing exhibitions, fellowships, and research programs.” At the moment, the center has also been working with the Ghanaian Military to digitize their archival materials and train personnel on archival processing skills. There are also storage rooms where archival materials are kept at specific temperatures until they are ready to be shipped back to where they came from. In other corners of the space, cameras, worktables, and laptops sit on table tops, ensuring the smooth transfer of physical archival materials to the cloud. It’s a process, as Ninson explains, that places emphasis on information and skill exchange. “If the archive is damaged, it goes to conservation; if it's not damaged, it goes straight to digitization. There's another team that is responsible for quality assurance, there's another team that's responsible for metadata, there's another team that's responsible for audiovisual, there's another team for collection management, and lastly, there's another team in our Awo lab that is in charge of putting them on the platform for accessibility,” Ninson says, adding that all digitized archives are sent to the Dikan Library, and will be available from November. ### ### The work that Dikan has taken on through Awo Institute is ambitious and continues to require even more support to keep it sustainable. “One of the biggest challenges is sustainability. Building an institution like Dikan requires significant financial and infrastructural investment, but arts and cultural education in Africa is still underfunded. We are constantly working to balance our vision with limited resources. Another challenge is access — how do we make sure our library, archives, and programs are not just for Accra, but for communities across Ghana and the continent?” None of this, as Ninson says, is about legacy. “It's rewarding. I love history. I love education. I read a lot. The point is that if I can contribute to the knowledge system in Africa, nothing is more rewarding than that.” Still, with new space, the Dikan Center is also positioning itself as a multidisciplinary space for community and education. They’ve set up journalism fellowships and other initiatives that support journalists, women in media, young graduates looking to enter the art industry, as well as workshops, talks, and exhibitions which are open to everyone. “Our mission is not just to preserve knowledge but to activate it to make it usable and impactful for African creatives, leaders, artists, general public, and storytellers,” Ninson says. Ninson sees a future where the coming generation of Africans knows more about themselves and their history because of the increased access to information and education. **“** We can build systems like the Western institutions that can take care of us.”

Music and fashion are always in conversation. Now more than ever, the sartorial choices artists make aren’t just for aesthetic purposes, there are also personality representations and brand implications to consider. It’s the effect of music further intertwining with style choices, on both niche and wider scales. Since popular artists can serve as influential figures, collaborations with fashion brands are now regular fixtures. Afrobeats superstar **Burna Boy** adds to his growing list of fashion collabs. His latest comes with Swiss sportswear brand On for a tennis-themed collection. This collab is a marquee opportunity for On to improve its global visibility by partnering with a global star. It’s also an attempt at expanding its popularity with Africans across the globe, following the release of last year’s moving documentary, ___To Chase A Dream___, which centered the journey and ambitions of South Sudan-born athlete **Dominic Lobalu**. ### Burna Boy x On If there’s anything conspicuous about Burna Boy, it’s his ultra-confidence that sometimes spills into arrogance, which makes it apt that he’s referred to as the “Clubhouse President” in this new campaign with On. In the _slick ad video_, Burna presides over a raucous clubhouse from the top floor, his veneer of invincibility underlining the bustle in the atmosphere. The collection features tennis-inspired, athleisure pieces — from courtside t-shirts to utility sports shoes. ### Shallipopi x boohooMAN Shallipopi has always represented a rugged type of freshness, the gritty persona earned from his rep as a Benin boy is often paired with sartorial choices that balance street edge and rockstar glamor. The new collection with boohooMAN emphasizes Shallipopi’s boundary-pushing energy, featuring rugged workwear fused with ‘90s hip-hop vibes. The _extensive set_ includes extreme baggy jeans, parachute cargo trousers, quilted overshirts and denim jackets, and graphic brushback hoodies. Zooming out wider, these are the sort of big-scale music-fashion collaborations that are now a part of African music, as it has ascended to worldwide popularity in recent years. In addition to Shallipopi and boohooMAN, below are the other times African artists have collaborated with global fashion brands. ### Burna Boy x BOSS The _ad video_ and images are in an office setting, an extension of the _“CorpCore” theme_ from last year’s BOSS Fall/Winter 2023 show. The new collection is a wide-ranging, 360 Rolodex of items, including suits, jackets, corporate outfits, eyewear, jewelry, watches and more. Zooming out wider, these are the sort of big-scale music-fashion collaborations that are now a part of African music, as it has ascended to worldwide popularity in recent years. In addition to Burna Boy and BOSS, below are the other times African artists have collaborated with global fashion brands. ### Tyla x Gap Shortly after _her historic Grammy win_, South African pop star **Tyla** was unveiled as _the face of Gap’s spring 2024 campaign_, which centered a new linen collection. In the ad video for the campaign, Tyla is in a pair of beige cargo pants and a matching linen crop, as she glides around in a choreographed set, along with dancers styled in fits from the new collection. The song is aptly by British electronic band Jungle’s _“Back on 74,”_ a viral TikTok hit from 2023. In her new look and smooth dance moves, the Gap collab is a markedly different look from the shinier outfits and vigorous dance steps that have been Tyla’s trademark during her breakout year. “I’m excited for my fans to see me do a new type of dance where I’m styled in comfortable clothes with my own personal touches,” _Tyla said_. “It was really fun — a true celebration of music, fashion and dance.” ### Burna Boy x Burberry > See on Instagram For its Holiday 2022 campaign, luxury British brand Burberry brought on **Burna Boy** as one of the faces — alongside Latin pop superstar **Shakira** — in its holiday 2022 campaign. Tagged “The Night Before,” the short film for the campaign showed Burna Boy in three different looks, including a signature jacket with Burberry prints and angel wings. The collaboration has extended beyond that campaign, with Burna Boy attending the 2023 Met Gala in a custom Burberry fit, and he also graced the Burberry fashion show in London last September. ### K.O x Asics Skhanda rap pioneer **K.O** has never been caught unfresh a day in his life. The South African artist consistently pairs his powers as a rap hit-maker with an impeccable sense of style, evident in his glossy music video. That made his collaboration with Japanese sportswear brand Asics, back in 2018, particularly appropriate. Looking to expand into Africa’s apparel market with its lifestyle brand, ASICSTIGER, Asics collaborated with K.O to roll out the line of athleisure wear. With an eye on widening his influence and legacy, K.O commented at the time that, “this is something that for the first time in my career that I felt made sense.” ### Rema x Jumpman > — (@) During the 2023 NBA All-Star festivities in Utah, **Rema** was one of the three who performed at the Afrobeats-themed halftime live show in the All-Star game. It was a massive jump from the 2020 All-Star weekend where he performed in one of the smaller club events. Furthering his relationship with American basketball, the singer was one of the brand ambassadors for the release of the Jumpman 2023, appearing in its ad video alongside NBA superstar Luka Doncic and American R&B star Luka Doncic. “I’m now with the Jordan family at age 23, the irony,” he wrote in an X post last November, referencing the iconic jersey number of Air Jordan founder Michael Jordan. ### Tems x Tommy Hilfiger > See on Instagram It’s almost impossible to grow up and live in Nigeria without knowing Tommy Hilfiger. The American fashion brand and retailer is synonymous with jeans wear, to the point where it continues to be consistently knocked off. “I don’t know when I first got introduced to Tommy precisely, but I do know it was definitely in my teenage years — probably high school,” **Tems** told _Hypebeast_ on her early relationship with the brand. For Tommy Jeans’ Fall/Winter Campaign in early 2022, Tems was its ambassador, central to the “Play to Progress” theme. In the campaign photos, she also brought along the skateboarding company WAFFLESNCREAM, as well as artists Lady Donli and Dami Oniru. ### Davido x Puma Amongst his many traits, a defining element of his superstardom is **Davido’s** unwavering, loud commitment to his brand partners. Amidst Kanye West’s recent tirade on his relationship with Adidas, Davido suggested in an Instagram post that Ye should cross over to Puma, the sportswear and lifestyle company he’s currently partnered with. In 2022, the singer unveiled the Puma x Davido collection, named after his signature quip, “We Rise by Lifting Others.” In retail since then, the collection features custom-designed tees, jackets, shorts, pants, a reversible bucket hat and a cap. ### Nasty C x G-Star RAW > See on Instagram **Nasty C** always shows up with impeccable swagger, which is what made him a great showcase candidate for G-Star RAW’s Exclusives collection in 2022. Premiered via _GQ South Africa_, the collection is, “literally the brand’s most definitive, premium offering in terms of quality, innovative fabrication and design aesthetic.” Also, with the primarily denim company’s long relationship with hip-hop culture, tapping one of the biggest rap superstars in Africa was perfect alignment for a collection that nods to G-Star RAW’s past while, “making progressive strides towards the future.” ### Wizkid x Nike > See on Instagram It took all of 10 minutes for **Wizkid’s** signature “StarBoy” jersey to sell out after its release in selected Nike Stores—but you’re still likely to see knockoffs hanging in stalls in Lagos. Released in September 2018, this was the second collaboration between the singer and the athletic apparel behemoth. Earlier in the year, he helped model the jersey for Nigeria’s national football team ahead of the World Cup, which was also a much-coveted, eventually sold-out item upon release. Paying homage to his roots, the StarBoy jersey had “Surulere,” the part of Lagos where Wiz grew up, inscribed at the back. Sold for $64 at retail, the rapid sell-out rate proved that Afrobeats stars had viable power from a growing diaspora and global audience.

**Bella Alubo**’s reputation as a soulful musician has never been in doubt. For close to a decade, she’s created music at the intersection of Afrobeats and deeper lying genres such as R&B and soul. On her latest album, __Love Is War__ , the Nigerian singer-songwriter gives unprecedented focus to these stirrings, crafting a body of work that stands among the most focused LPs of the year. ### According to Alubo, it was the independent urges of inspiration that took her down the album path. “Initially, I was working on singles,” she says in conversation with __OkayAfrica__ , “...and down the line, we decided to work on a project. Intentionally, we… said we were working on a project earlier this year.” The artist had put out an EP titled __Love Is…__ last year. Knowing she’d want to create a sequel to the narrative suggestion in that title, Alubo and her team tinkered with numerous versions before settling on __Love Is War__. “People like when I make love songs,” Alubo explains. “We started working on the album in London just before the summer started.” There’s a subtle intentionality that flows across the 15 songs on __Love Is War__. Alubo’s understanding of emotional nuances is evident in her songwriting. From the exhilarating opener “Oxygen,” where she bemoans the inevitable failure of an affair, to the even more pessimistic “Hear Me Out,” we’re brought into the battlefield of love with cool precision. Records like “Loving You Is A War” further vivify the focal point of the album, while songs like “Fancy Lady” uphold Alubo’s own individuality, recognizing the self as the source of all magic. ### ### Early on the album when she sings __“you’re like a wave that I should not ride / still you’re crashing into me,”__ there’s no doubt that __Love Is War__ will explore the heated arena of conflicting desires. But as we surge further into the album, we hear a sophisticated woman who’s able to be so much more than just a yearner for unceasing devotion. The features provide a counter-perspective to Alubo’s musings as the trio of **Ycee****,****1Da Banton**, and **Rotimi** expand on the subject of war-like love. “Yeah, love is worth it, but there’s a lot of fighting, a lot of tension,” Alubo says. “I believe in destiny, and I believe in true love. And I believe that everybody has their true love, and anyone who’s not with their true love is going to feel like an obstacle to the path of love. So I feel like the theme of __Love is War__ … any human being… would be able to relate to. Because that means, apart from your person, every other love is going to go wrong”. Sonic-wise, Alubo wanted to stay true to her primal instincts while keeping in touch with modern sounds. There’s a touch of log drums on several songs from the project, like “Rush” and “Don’t You Worry,” grounding their dreamy-eyed songwriting with the percussive heft of Afro elements. “I love when people question the evolution of genres because it’s something that really interests me,” she says. “One time, I went to look at the origin of genres, and there’s this diagram that kind of looks like a family tree. The thing about music is that we continue to reflect each other, and it didn’t just start now; it started __way__ before. Even like with slavery, Black people being moved from Africa to elsewhere, and then fusing their music with that country’s sound. If you listen to something like reggae, with the storytelling and the chords, you’ll see that there’s a similarity with country music. And that spirit is found in highlife, which is in Ghana, and Ghana has that reggae-ish sound. And then highlife to Afrobeat is just so simple… I feel like when we strip down music to just instrumentation, most genres are connected.” ### ### Alubo grew up in the artistic city of Jos, with parents who were revered academics. Spurred into creation by the laidback nature of the north-central Nigerian city, Alubo began writing short stories at six, and went on from there. “It’s that kind of town that is very small, very chill, there’s a lot of nature, there isn’t much city stuff going on, so I feel like it put me in that state of mind to be creative,” she says. “Because all my siblings were in boarding school and I’m the last child, I was always daydreaming and imagining, so I think that’s why I started with stories and poetry, because I just would go in my head and think about scenarios or dial into my feelings and expand on them.” Alubo’s father was also a notable influence. He schooled partly in Missouri, in the United States, and would play a lot of American classics on his vinyl record player. From jazz to country and South African music, Alubo would hear a lot of **Brenda Fassie**; the rhythms of her early life glowed with variety. Her mother liked humming, and her unique Idoma intonation (her family is originally from Benue State) gave a striking poignance to her melodies. “I was exposed to every single kind of music you can imagine,” she says. ### ### That variety of inspirations can be seen in the art of Bella Alubo. From getting signed to the hip-hop adjacent**Tinny Entertainment** label in 2016 and putting out the __Re-Bella__ project, she’s occupied a distinct position as one of the most mainstream-leaning artists that could otherwise be considered alté. During the alté movement’s peak later that decade, Bella was readily grouped with artists like **Lady Donli** and **Amaarae**, although her artistic strengths were more present in the emotional landscapes she built on projects like __Summer’s Over__ and __Bella Buffet__ , her 2021 debut album, which featured heavy hitters such as **Ice Prince** and **Niniola**. And since then, she’s never looked back, confident in the trajectory of her life and career. Alubo has been playing the long game. She’s not too anxious about reaching popstar acclaim because music has always been there. Asked about what success means to her, she’s typically illuminating in her response. “Success as a musician to me is something that I’m still defining, because as an artist, there’s that temptation to __not__ be satisfied. You just want to keep going and keep going, so I would really like to see if there’s a point where I would feel accomplished,” she says. “But where I’m at now is a place where I once dreamed about. There was one time I was wondering if I would even have up to one million streams, now I have probably over forty million streams. And so success to me as an artist is something that always redefines itself. Right now, I think it’s just for as many people to listen to my music as possible, and as many people connect to my art as possible.”

The lights dimmed, and a roar erupted from the crowd at Nairobi’s Masshouse as four silhouettes took the stage. **Freddy Milanya, Richie Mathu, Marcus Ojiambo,** and **Festus Mwenda** — better known together as **Matata** — didn’t just walk out; they danced into view, carrying the energy of a long-awaited homecoming. ### It has been a strong 2025 for the Kenyan band. They spent the early part of the summer touring Europe with **Bien**, where the two acts performed their viral smash “Mpishi,” a collaboration that has pulled over 11 million YouTube views in just four months. The crowd sang just as loudly for Matata’s 2024 hit with **Watendawili** , “Inakubalika.” The tour was an immense success, introducing the band to new cities and audiences with sold-out shows in Amsterdam, Hamburg, and London. Despite the milestones abroad, Milanya tells __OkayAfrica__ that nothing compares to performing in Kenya. “Anywhere you go, home is always the best,” he says. “Performing in Nairobi still gives us the biggest dopamine doses. The crowd is very engaged, very eager because we are not there most of the time.” ### ### Indeed, “most of the time” the band isn’t in Kenya at all. Since the start, Matata has been based in Oslo, Norway, which is why their shows back home feel like full-circle moments. They underscore the group’s unique place in East Africa’s music scene: deeply Kenyan in style, proudly global in ambition. At a time when many artists reshape their sound to fit international tastes, Matata has leaned into their Kenyan identity. That authenticity is what is winning them fans both inside and outside the country. They’ve taken Kenyan culture — music, dance, slang, even protest — out into the world, and brought it back fully intact. The result is a band that has steadily built its name by staying authentically Kenyan while reimagining that identity in bold new ways, culminating in its biggest year yet. “Our motto has always been, __‘__ Think local, act global,’” Milanya explains. “We always think as if we were in Kenya. Once we have that in place, we ask, ‘Okay, how does this fit on a world stage?’ How can we go somewhere in the inner city or somewhere in rural Europe and still have people relate to what we’re doing? That’s our motto, and so far we’ve found ways to make it work.” ### ### That mantra is not just a catchy phrase. For Matata, it is part of an intentional campaign they have been mapping out since the very beginning. The four Kenyan-born members first came together in 2016 while in Oslo, not as musicians but as dancers. With training in theater, dance, and music, they each also work professionally as theater artists outside the group. By late 2018, the group had transitioned into making music together, a shift Milanya recalls as inevitable because they were each doing it separately anyway. “We were always dancing together, so why were we doing music individually? That’s when we decided, instead of making music separately as well as dancing, we’ll just make the music together.” Dance, however, remains the heartbeat of everything they create. This shared background has laid the groundwork for the explosive stage presence and dynamic music videos they are now known for. “It comes naturally, it’s something we love, and over time it has become a primary component of our music,” Milanya said. “We’ve always believed we were born to dance because it’s been innate since we were young. On top of that, we are professionally trained. For us, dance is a tool of communication that needs no words…it’s like a universal language.” ### ### Their dance style as Matata is both deliberate and deeply cultural. Their often viral dances reflect what is happening in society, Milanya explained. “They become an extension of storytelling. Sometimes even trauma is processed through dance, because Kenyans are really good at turning difficult situations into something positive.” That philosophy explains why Matata’s choreography feels instantly familiar to Kenyan audiences. Their moves are borrowed and reimagined directly from Nairobi’s streets and clubs, creating a kind of feedback loop where the band both reflects and shapes popular culture. “We want to be an extension of what is already existing,” he explains. “We want to be part of the culture, not create a whole new culture." This approach comes to life in the video of the recent single, “Tiki Tako” with **Mejja**. Playful, high-energy, and distinctly Kenyan in its humor and rhythm, Matata also introduced a signature dance to go with it. Within days of the video dropping, the moves had spread across TikTok and Instagram, fueling the song’s rapid climb toward two million views in a month. When they performed it live in Nairobi, the impact was immediate. The crowd broke into the dance without instruction. That instant connection between audience and performer is the essence of Matata’s strategy: create music that sounds like Kenya, pair it with choreography that feels like the street, and let fans complete the loop by making it part of their own lives. ### ### Despite their focus on Kenya, Matata has carved out a strong base in Oslo. There, the band has built a professional infrastructure by registering as a company, curating Matata-branded events, and even staging a theater production about their journey. These efforts have also helped them reach new audiences. This dual positioning is what allows them to truly embody their __‘think local, act global’__ mantra. In Oslo, they operate as professional artists with access to resources and platforms that expand their reach. But every lyric, move, and visual still points back to Kenya. Carrying Kenyan culture abroad also means carrying its struggles. During the most recent anti-government protests, Matata used their platform to stand in solidarity with the youth-led movement. “Anytime you speak, you risk offending people,” Milanya says. “But regardless, we do that not because we are Matata. We do that because we are humans. We do that because we are Kenyans.” All of this is building toward the band’s next chapter: their new album, slated for release in November. Their latest single, “Mangware,” has them linking back up with Watendawili with a chance to repeat the success of the 2024 smash. While they have yet to share many details about the album, Milanya hinted it will reflect both their growth on the road and their grounding in Kenya. “We’ve toured, we’ve seen how people respond to different kinds of music, and we’ve grown a lot as artists. But at the same time, we are still staying true to who we are.”

At **Nanette**’s Johannesburg album listening session, friends, music industry peers, and media professionals gathered in a space transformed into her sanctuary for the night. ### Her portraits lined the walls, rose petals in deep crimson hues carpeted the floor, and a custom drinks menu — named after songs from her latest project, __Painfully Happy__ — was placed neatly on each table, inviting guests to sip her music in liquid form. First introduced to audiences in 2022 with her debut, __Bad Weather__ , Nanette has since become a sought-after collaborator, lending her velvet vocals to artists like **Nasty C**, **Kelvin Momo** , and **Blxckie**. Around 8 p.m., she took center stage, thanking those present before cueing up the body of work she has spent the past two years crafting. As the room swayed with her music, she moved between dancing, vibing, and reflecting on the path that led her here. A highlight arrived midway through the evening with “Abazali,” her second single off the new album, when her parents joined her for a heartfelt moment. The cheers that erupted made the performance feel even more intimate, dissolving the line between show and shared memory. Just a week earlier, Nanette sat down with __OkayAfrica__ to unpack her creative process, her bond with R&B, and the classics that echo throughout her work. True to her word, those influences surface across the album — sometimes in melodies, sometimes tucked inside lyrics — like familiar whispers reframed through her own voice. ### ### “I wanted to step out of my comfort zone with this project, and really push the boundaries with the music and with myself and my writing. I feel like people will connect to it deeply. And given the trajectory of my career, this feels like the perfect time to release another full body of work. People have been waiting, and I’m very excited to see what happens,” Nanette says. Nanette entered the industry with a strong performance background, having started singing in church at the age of eight. By 2020, while studying towards her law degree, she was uploading covers and originals to SoundCloud as a creative outlet. That period led her to producer and mentor **Lee Global** , who opened doors and introduced her to the wider scene. When __Bad Weather__ arrived in 2022, it marked her official entrance, placing her among a new generation of R&B voices. She remembers those first years as “scary and confusing.” “Most times, I really didn’t understand the whole crux of fame and how it works. I remember when the first few people came up to me, saying they liked my music and asked for a picture. It was such a surreal moment. But then I realized that a certain part of me would forever belong to the people. That was a crazy thing to accept.” She remains fascinated by the power of art and how strangers can be utterly mesmerized by her presence. “The power of art, and of music specifically, is immense. I’m just grateful that I get to contribute to pop culture,” she reflects. She has learnt how to balance her public and personal profile over the years, and finds it much easier nowadays to discern what to share and what to keep to herself. “There’s intimate parts of my personality and my life story that I don’t think I’ll ever feel the need to share with people. I also just try to remain as authentic as I can; what I do share with people is still very much me,” she says. ### ### __Painfully Happy,__ which follows on 2023’s __The Waiting Room__ , is a strong album by every standard. It boasts stand-out bangers in “Abazali” and “Bad,” released earlier this year. Its production is elevated on every front, from the music itself to the vocal arrangements and song sequencing, and the songwriting is among the sharpest right now. Take “Make It Dance,” where she opens with the cinematic line: “ __I’ve got three blunts already rolled up for you / in my black night dress, I got on that Full Moon__.” Produced by **Dre Bombay** (__Ciara__ , __Floetry__ , __Jill Scott__), the track is an ethereal gem that could have slipped seamlessly into the bustling soul scene of the seventies, the blossoming neo-soul of the nineties, or the evolving R&B vanguard of 2025. “Dre was just playing me a bunch of beats. Our session was actually over, and I was so tired, and it was late. Mind you, he’s flying out the next day. He starts playing the beats for “Make It Dance,” and ten seconds in, I start recording the melody. And I was like, OG, we got one. The words just started flowing,” says Nanette, who left the session with the promise to come and finish up early the next morning. “I fell in love with that song instantly. I still can’t believe I had the opportunity to work with Dre and make that song, it’s such a vibe!” Intention is baked into every song, like emotions custom-made to fit the moment. The sonic palette stretches wide – from the R&B of opener “One Night,” to the Afrobeats swing of “Silent Killer,” the majestic 80s bubblegum of “Abazali,” the amapiano-esque “JJK,” and the head-nod hip-hop of “How Much Can You Really Take.” The production credits are just as expansive. Alongside Dre Bombay are regular collaborators **Lee Global** and **Christer** , as well as **Herc Cut The Lights** , **Mathandos** , **Tru Hitz** , **Stacy** , and a host of others. “It’s beautiful to watch the journey introduce really amazing producers to me. I try not to force collaborations. I try not to look out for them or go out of my way, unless I really want someone specifically on a song. I just let the creation process do its thing, and in turn, I’ve been able to meet a lot of amazing producers and collaborate with boundlessly talented people,” she says. ### ### She does something surreal, almost magical, on “Silent Killer,” where she writes from both perspectives of people caught in a toxic and abusive relationship. “What happens when the roles are reversed, and how do we respond as a society?” she wonders out loud. The idea struck while she was listening to Rihanna’s “Man Down,” where Rihanna sings from the perspective of a woman who has just shot and killed a man in a moment of fear and panic. “I was like, damn, people really slept on this song. But more than anything, they really slept on this concept. The way it’s framed is you might look at it as, oh, she just killed someone, but if you actually watch the video, there’s a backstory to it: she was protecting herself from getting killed. I was really taken aback by that, and I was like, hmmm, let me play around with this concept.” “It also goes back to how much I love storytelling and creating very visual images. We might not have the big theater budgets now, but that doesn’t mean I don’t have to put the theater in the music.” Nanette’s artistic roots trace back to her great-grandfather, the esteemed poet **J.J.R. Jolobe** , whose pioneering contributions to isiXhosa literature made him a towering figure in South African letters. “Language and literature were always a big part of our family. I feel like isegazini (it runs in the blood) more than anything. Poetry has really been with me my whole life,” she says. Where Jolobe used poetry to preserve language and capture the nuances of his people’s lives, Nanette extends that legacy into a new century and a new form. “I can attribute the legacy of my ancestors, and specifically my great-grandfather, to a lot of integrity. My main goal is always to keep that same integrity and quality control that they were so strict about. They did a lot of work to leave their own legacies – a legacy of art, of creation, of history. That’s what I want to try and do as well. And in order to do that, I always question my integrity and my intentions. You can feel when something is not authentic,” she says.

I first met the veteran Egyptian activist and journalist **Hossam el-Hamalawy** at a talk he was giving in Germany, his home in exile. The room was filled with pro-Palestine activists and those who wanted to understand why Egypt keeps its border with Palestine closed __despite the genocide. ### “The road to liberate Palestine passes through Cairo,” el-Hamalawy told the audience, tracing Egypt’s political history with Palestine through his own activist journey from the 1990s until today. Everyone was inspired by his passion, sincerity, and expertise. After the talk, several people asked how they could get involved. Even though he’d just spent over an hour speaking, el-Hamalawy made time to answer everybody’s follow-up questions, passing out much-needed assurance that there’s always something that can be done, even in the face of military dictatorships and genocide. In words edited for length and clarity, el-Hamalawy lays out his journey for __OkayAfrica__ , sharing motivations, challenges, and how he stays committed to creating the country that Egyptians deserve. ### ### **Hossam el-Hamalawy:** I can trace my interest in politics to my early childhood. My father, **Rashad el-Hamalawy** , was born into a working-class family in Tanta. There was no sanitation or electricity at his house, and he had to study under street lamps. Despite that, he was granted a scholarship at Cairo University and ascended with skyrocketing speed within the organization of Socialist Youth. It’s funny, I’m supposed to talk about myself, and now I’m talking about my father. But without him, I don’t think that my life trajectory would have been in the field that I’m in today. He was a left-wing academic, and I grew up in a highly political environment. I was born in 1977, a few months after the bread uprising, when **Anwar Sadat** started cracking down on the left. My family was part of an exodus to Yemen, then Kuwait, but he couldn’t put up with the racism there. We returned to Egypt in 1981, a few months before Sadat’s assassination, which I actually attended. I was politicized by tiny things that bothered me about life in Egypt. I traveled to Athens in sixth grade and was shocked that we couldn’t find garbage in the streets. In Tanta, I was horrified by the level of poverty: piles of garbage everywhere, children running around barefoot. My father always said that we deserve better than this. ### ### In 1991, Egypt led its first ‘dirty war:’ people were disappearing, torture became endemic and systemic, extrajudicial killings, and mass arrests under the pretext of fighting terrorism. These were my teenage years. Growing up in Cairo in the 1990s was almost like growing up under occupation. Checkpoints everywhere, you get stopped and arrested randomly by the police. In 1995, I joined the American University in Cairo (AUC). It was a cultural shock to be around such wealthy elites. I got involved with an Arab nationalist group, but it was the worst time to be an Arab nationalist: the defeat of the first Intifada, the Gulf War, Pax Americana... But I disliked the Islamists, and Hosni Mubarak was very uninspiring. I wanted to know ‘what’s to be done?’ ### ### Disillusioned with Arab nationalism, I was reading about Marxism and Existentialism, just searching for answers. I joined the Revolutionary Socialists, which was a clandestine organization. Our generation rebuilt the left on the campuses. The challenges we face in Egypt differ from one period to another. In the 1990s, the left was on the retreat, and we were isolated and repressed. Whenever we tried to organize, we faced ridicule. You could not whisper the name Mubarak. I tried it once, and everyone started running for their lives; I gained notoriety because I was trying to push us to talk about Mubarak, and that scared other activists — until the second Intifada in 2000. Suddenly, there were explosions of protests, from the campuses to the professional syndicates and even kindergarten schools. These protests gave us a chance to provide leadership. ### ### On October 8, 2000, I was kidnapped by state security police for the first time. It was one hell of a horrible experience. I spent four days blindfolded, stripped naked, beaten up, and tortured. But I didn’t confess. I was arrested a few times later in crackdowns, but this was the worst experience. The person who supervised my torture was Major General **Hesham Abu Haide,** who was running the Cairo Governorate for the state security police. ### ### In April 2002, **Ariel Sharon** sent tanks into the West Bank and triggered the Cairo University Intifada. For two days, there were running battles around the university with the police, and this was the first time in my life that I heard thousands chanting against Mubarak. I wanted to go into academia, but I was blacklisted and couldn’t get security clearance. By sheer coincidence, I landed a job at The Cairo Times and started my journalist career. ### ### I was mesmerized by the impact of Al Jazeera on the 2000 protests. Why did Egyptians suddenly get the courage? I concluded that the dissemination of visuals of the Palestinian Intifada to every Egyptian home was a radicalizing factor. I later dubbed this the ‘Visualization of Dissent’ strategy. When we organized protests as part of the Kefaya movement, we would contact Al Jazeera in advance. We wanted to normalize protests. ### ### In 2006, a strike wave started, and in every factory I visited as a reporter and organizer, they told me that they’d seen or heard of others going on strike, so they decided to do it, too. When **Khaled Said** was killed in police custody in 2010, after one decade of struggles and strike action, the country was fertile for the revolution. ### ### I left Egypt in October 2015, two years after **Abdel Fattah El-Sisi** ’s coup. First, I thought there was still space to mobilize and confront it. In 2014, there had been a renewed wave of strike action, which lifted my hopes. But these were the last dying breaths. After El-Sisi was elected, I told my comrades it’s game over. I collapsed; I was completely burned out. The bitter thing about defeat is that it doesn’t just come as one blow; it comes gradually. I spent a year battling depression, waiting for my turn. Every night, I’d wait for the door to get smashed. I got a job at AJ+ in Doha and left Egypt via the Maldives, because you couldn’t go to Qatar without security clearance. I left pretending I was going on a tourist diving trip. Meanwhile, the state security police came for my family, notifying them that I’m wanted. ### ### I wanted to go to Europe, but they didn’t need journalists and photographers. A PhD programme was the only way, so I drafted a proposal about Egypt’s dirty war and got accepted at the Freie Universität in Berlin. I’ve been living in Germany since 2017. Everything there was alien to me, and I wasn’t in my best shape psychologically, but I gradually got back to the mindset: ‘what’s to be done?’ You don’t stay in a depression forever. After a period of licking your wounds, you start getting your act together again. I fought to get on my feet again and got involved in rebuilding the organization abroad and helping my comrades back home logistically. I finished my PhD in 2023 about how El-Sisi restructured the security apparatus after the coup, and I’ve been producing knowledge about Egypt both in English and in Arabic. ### ### There’s a new generation of Egyptians who are too young to remember 2011, and they’re seeking answers to ‘what’s to be done?’ That’s the audience I’m trying to reach, at home and abroad. To prepare for the next revolution. My role until I return is to create the widest network of Egyptian activists abroad, to organize us, and highlight how the governments of the countries we’re staying at are propping up the regime in Cairo. ### ### It’s not easy for me. I’m like a fish that’s been taken out of its water. I spent most of my life on the same block in Nasr City. I miss my bed and my flat, which will be gone with the new rent law _._ I miss my friends and the streets. I miss a Cairo that doesn’t exist any longer. Everything has changed. No one from my network of support lives there anymore. In Germany, I’m a foreigner and I’ll never be fluent enough to have a political conversation. My German isn’t even good enough to fight with the Vodafone customer service. If the regime falls in Egypt, I’ll be on the first flight. ### ### But I’m also scared of that moment. I’m scared of arriving in an Egypt that I wouldn’t recognize. It’s purgatory, I’m somewhere between heaven and hell. In a way, that’s my motivation to be more active so that when I go back to Egypt, I’ll go back to build the Egypt I dreamt of. It’ll be neither the Egypt I’m nostalgic for, nor the ugly one now. It’ll be the one that my father was fighting for when he said ‘we deserve better.’”

____Every day,_OkayAfrica_ shares a roundup of news we’re following but haven’t published as full articles. These short updates cover what’s happening on the continent — in culture, politics, and beyond. For more on stories like these, be sure to check out our News page, with stories from across the regions. ### 100 Bodies Recovered After Sudan Landslide as Pope Calls for Global Response Rescue teams in Sudan’s Darfur region have recovered about 100 bodies after a landslide wiped out the village of Tarseen in the Jebel Marrah Mountains, with fears the death toll could reach 1,000. The Sudan Liberation Movement/Army, which controls the region, said search efforts remain hampered by a lack of resources and difficult terrain, while the UN estimates that between 300 and 1,000 people may have died. The disaster adds to Sudan’s deepening humanitarian crisis, already marked by famine, disease outbreaks, and ongoing war between the army and the Rapid Support Forces. **Pope Leo XIV**, addressing the tragedy in his weekly remarks, urged a coordinated international response to what he called a “humanitarian catastrophe,” saying Sudan needs urgent peace, dignity, and hope. The UN’s humanitarian office said access challenges are delaying confirmation of the full scale of the disaster, while aid agencies warn that the country’s overlapping crises are overwhelming relief efforts. ### U.S. Aid Cuts in East Africa Roll Back HIV Progress, Report Warns A new report by Physicians for Human Rights says U.S. aid cuts in East Africa have disrupted HIV services in Uganda and Tanzania, leading to babies being born with the disease, rising life-threatening infections, and even one woman having an unwanted abortion out of fear she couldn’t access treatment. The freeze on the President’s Emergency Plan for AIDS Relief (PEPFAR) forced clinics to shut down or ration medication, leaving patients with weeks of supply instead of months and fueling mistrust of government services and antiretrovirals. Doctors, nurses, and patients interviewed described decades of gains against HIV unraveling within 100 days of the funding freeze. The disruption hit marginalized groups hardest — including LGBTQ+ people, sex workers, and drug users — who already face stigma and criminalization. While some programs have resumed under waivers, half of the $6 billion Congress allocated to PEPFAR for 2025 remains withheld by U.S. President **Donald Trump** ’s administration. Advocates warn that without urgent restoration of funds, the progress of the past two decades could collapse, worsening infections, discrimination, and reliance on fake cures. ### Tanzanian Activist Survives Abduction and Shooting as Disappearances Rise Tanzanian activist **Edgar Mwakabela** , better known as **Sativa** , has described surviving a brutal abduction in June 2024 in which he was beaten, interrogated about his criticism of the governing CCM party, and shot in the head before being left for dead in Katavi National Park. He regained consciousness and was rescued by wildlife rangers, later requiring extensive medical treatment. His case is one of more than 200 enforced disappearances documented in Tanzania since 2019, according to UN experts. Families of missing critics and opposition figures say police have failed to investigate cases or provide answers, with some victims reappearing bearing signs of torture, while others are never found. Rights groups accuse the government of using abductions to silence dissent ahead of elections, though authorities deny involvement and insist investigations are ongoing. Activists warn that without accountability, forced disappearances and abuses will continue to rise. ### UN Warns U.S. Aid Cuts Threaten Peacekeeping in Africa The United Nations has warned that U.S. aid cuts could cripple peacekeeping missions in South Sudan and the Democratic Republic of Congo, where thousands rely on international forces for protection. Washington’s recent cancellation of $4.9 billion in foreign aid included over $800 million for peacekeeping, a major blow given that the U.S. contributes nearly 27% of the UN’s peacekeeping budget. A UN spokesperson said the cuts risk forcing missions to “do less with less,” undermining efforts to protect civilians in volatile regions. The U.S. has already proposed eliminating its peacekeeping contribution for 2026, citing alleged failures of some missions. With 11 active operations worldwide, the UN has urged member states to make timely contributions to keep its missions running. Secretary-General **António Guterres** has also appealed for stronger support, warning that without it, decades of progress on peace and stability could unravel. ### Madagascar Welcomes Return of Colonial-Era Skulls From France Madagascar has received three human skulls taken during French colonization 128 years ago, including one believed to belong to **King Toera** of the Sakalava people, who was beheaded in 1897. The remains were handed over in Paris last month and welcomed with a state ceremony in Antananarivo yesterday, Tuesday, September 2, which was attended by President **Andry Rajoelina**. Historians and descendants say that the return carries profound political and cultural significance, allowing the Sakalava to conduct traditional rituals and honor Toera as both a monarch and a symbol of resistance against colonial rule. ### Congo-Brazzaville Begins Voter Roll Revision Ahead of 2026 Election Congo-Brazzaville has launched a two-month review of its electoral rolls ahead of next March’s presidential election, where 81-year-old President **Denis Sassou-Nguesso** is expected to seek another term despite opposition calls for him to step aside. Officials say the update — already underway with lists displayed at town halls — aims to improve transparency, remove deceased voters, and ensure all eligible citizens are included. Sassou-Nguesso, who has ruled for decades and changed the constitution in 2015 to extend term limits and bypass an age cap, last won reelection in 2021 when more than 2.5 million voters were registered. ### Ethiopia’s Central Bank Governor Steps Down After Major Reforms Ethiopia’s central bank governor, **Mamo Mihretu** , announced today, Wednesday, September 3, that he is leaving government after leading the National Bank of Ethiopia through sweeping reforms, including the flotation of the birr and opening the financial sector to foreign banks. Appointed by Prime Minister **Abiy Ahmed** in January 2023, Mamo also helped secure $10.5 billion in external financing during his tenure and strengthened the bank’s independence. He said he was stepping away after seven years in government to pursue other challenges, though it was unclear whether his departure was voluntary or requested. ### Migrant Crossings Surge on Deadly Eastern Route, IOM Warns Migrant movements along the Eastern Route from the Horn of Africa to the Arabian Peninsula rose by 34% in the first half of 2025, despite a spike in deaths and disappearances, the International Organization for Migration (IOM) said. At least 348 migrants were reported dead or missing, mostly in Djibouti’s Obock desert and off Yemen’s coast, while thousands more faced violence, forced returns from Saudi Arabia, and worsening conditions at home in Ethiopia’s Amhara, Tigray, and Oromia regions. The report highlights growing risks for women and girls, whose numbers have more than doubled, and warns that irregular migration driven by unemployment, conflict, and traffickers exploiting vulnerable communities will continue unless deeper root causes are addressed. ### UN Warns Restrictions Threaten Cameroon’s October Election The UN human rights chief, **Volker Türk** , has raised alarm over shrinking civic space in Cameroon ahead of the October presidential election, warning that bans on opposition gatherings, intimidation of candidates, irregularities in voter registration, and restrictions on civil society and the media undermine the possibility of a free and fair vote. Türk urged the government to act swiftly to create conditions for transparent and inclusive elections, while UN officials noted recent arrests of opposition supporters and disruptions of political activities by security forces, adding to concerns that voters may not be able to freely express their will. ### Gunmen Displace 300 People, Torch Homes in Nigeria’s Plateau State Over 300 people have been displaced and 30 homes burned after gunmen, suspected to be herders, attacked 10 communities in Plateau State’s Qua’an-Pan local government area, officials confirmed. The assaults, which struck as residents prepared for harvest, also destroyed farm barns in villages including Nteng, Doop, Zhep Morop, Gyeergu, and Kelaghan. Local government chairman **Christopher Manship** condemned the violence, urged traditional and religious leaders to join peace efforts, and said security forces have been deployed to stabilize the area. Traditional leaders also emphasized their role in restoring calm as displaced families await safe return to their homes.

This month, there’s something for everyone. Whether you love comedies, stirring dramas, films with talking animals, or a series examining the rise and fall of a real-life celebrity couple, we’ve got you covered. Meanwhile in Egypt, a local cinema’s annual program brings the latest Arab productions from across the region, offering a slew of films to enjoy as summer winds down. ### North Africa — By Amuna Wagner ### Cairo Cinema Days (Egypt) If you are in Cairo and you have had enough of the endless strings of summer comedies, Zawya Cinema’s Cairo Cinema Days are a refreshing alternative. Their well-curated indie programme brings back old gems like Egyptian Algerian actor and musician **Ahmed Mekky** ’s __The Seventh Sense__ , where a young gym teacher tries to commit suicide after a series of failures through his life, only to meet a voodoo man who gives him the power to read minds. Another recommendation is filmmaker and activist **Bassam Mortada** ’s documentary __Abo Zaabal 89,__ which tells the story of his father’s arrest, imprisonment, and torture, re-constructing and reconsidering the experience that traumatized and divided his family. **Where to watch** : Zawya Cinema Cairo ### Mama w Baba (Egypt) If you are still holding on to summer’s last carefree days, the new Egyptian film __Mama w Baba__ by **Ahmed El Keiy** can give you some comedic relief á la __Freaky Friday__ : A married couple’s peaceful family life descends into chaos when they wake up to a physical role swap. The wife transforms into a man and the husband into a woman, which leads them to discover new aspects of their marital relationship and their roles as parents to two children. **Where to watch:** Egyptian cinemas ### East Africa — By Paula Adhis ### 'One Woman One Bra' (Kenya/Nigeria) In __One Woman One Bra__, Kenyan director **Vincho Nchogu** makes her feature debut with a drama about land, womanhood, and belonging. Set in the fictional village of Sayit, the story follows 38-year-old Star, whose claim to her home is jeopardized by the lack of legal kinship ties. Her situation is further complicated by the fact that she is an unmarried orphan. When a childhood photo surfaces, Star suspects that a local food vendor might be her long-lost mother. Her search for identity becomes mixed with a desperate effort to retain her land, leading her to consider many questionable options. Developed through Biennale College Cinema, __One Woman One Bra__ is one of four micro-budget features selected for this year’s Venice Film Festival. It is also the first Nigerian-produced film to premiere at Venice, marking a milestone for producer **Josh Olaoluwa** and his Lagos-based company, Conceptified Media. **Where to watch:** Venice Film Festival's Giornate degli Autori from August 27 to September 6, 2025. ### 'Every Picture Needs A Frame' (Kenya) __Every Picture Needs a Frame__ is a short documentary by Kenyan filmmaker **Lucy Chodota** that explores the complex relationship between renowned American photographer **Peter Beard** and eight Kenyan artists who worked with him over six decades. The film follows their artistic journeys back to Hog Ranch, a space once known for its creative energy and freedom but later marked by pain and disillusionment. Through their stories, the documentary reveals long-buried truths and raises urgent questions about artistic collaboration, equity, and recognition. **Where to watch:** Currently playing at Unseen Cinema in Nairobi until September 7, 2025. ### West Africa — By Nelson C.J ### ‘Over The Bridge’ (Nigeria) __Over The Bridge__ is the stellar drama from director Tolu Ajayi (__Princess On A Hill, The Dead__), which follows Folarin Marinho, who goes missing on his birthday, resulting in a search that peels back the struggles that surround his life. The film has been well-received, screening at the New York African Film Festival 2024. It’s a story that handles the psychological with the socio-economic with ample grace and agility. The film stars Ozzy Agu (__Walking with Shadows, Banana Island Ghost, The Lost Okoroshi__), Joke Silva (__The Secret Laughter of Women, Funmilayo Ransome Kuti, Chief Daddy__), and others. **Where to watch:** Nigerian**** cinemas, from September 5. ### ‘The Fisherman’ (Ghana) __The Fisherman__ by Zoey Martinson (__Restless City, Cupids__) is a brilliantly constructed comedy that follows a man in a rural fishing village in Ghana, whose dream of buying a boat takes him on an unexpected but transformational journey and brings him in contact with unlikely characters, including his most trusted companion — a talking fish. __The Fisherman__ , which was officially selected at the 2024 Venice Film Festival, is made with incredible quality and from writing that sings, enlivens, and brightens the cultural landscape of everyday Ghana. The film employs comedy to expand the possibilities of storytelling, from its stellar cinematography to the slightly fantastical elements it incorporates. The film stars Adwoa Akoto (__The Weekend Movie, Played and Betrayed__), Ricky Adelayitar (__Beasts of No Nation, Public Toilet Africa, Sidechick Gang__), Endurance Dedzo, Andrew Adote, and others. **Where to watch:** Silverbird Cinemas Accra, September 19. ### ‘Amlan’ (Côte d’Ivoire) In __Amlan__ , a story of love and the desperation that can emerge from protection unfolds. Directed by **O. Assi** , the film follows Amlan, a governess who becomes the only safe space for the child she is looking after as her family topples into crisis. Amlan is forced, as the conflict surrounding her and the child explodes, to come to terms with how far she is willing to protect someone she has grown to love from the kind of tragedy that once plagued her. The film stars Prisca Pahi, Kaki Kouo, Franck Oumar Mady, and others. **Where to watch:** Majestic Cinema, Abidjan, from September 2 ### Southern Africa - By Tseliso Monaheng ### Gush’lyf (South Africa) __Gush’lyf__ – drawing from __gusheshe__ , what BMW 325is cars are referred to in South Africa – is a new reality show that takes viewers into the high-octane world of car spinning, where the sport is a lifestyle and a stage for identity. The show follows four bold spinners as they prepare for the country’s biggest national showdown, balancing the thrill of the arena with the pressures of everyday life. Ngozi (__Gift Zulu__), Dankie Darlie, also known as the Queen of Smoke (__Nalo Dzhivhuho__), Poroza (__Mpho Diloro__), and Mzet, also called Moruti (__Collie Golden__), each brings their own story, ambition, and drive. **Where to Watch:** Showmax ### Black Gold (South Africa) **Nomalanga Shozi** makes her debut in a leading role with the new daily drama __Black Gold__. She stars as Amandla Zungu, a young woman cast out of her ancestral home after being falsely accused of her father’s murder. Amandla must fight her way back from the perilous world of mining to reclaim her legacy and face the woman who destroyed her life. The cast includes SAFTA winner **Dawn Thandeka King** as Florence, Amandla’s scheming step-mother, and SAFTA nominee **Sello Maake KaNcube** as Tom Motsepe, Florence’s secret partner in crime. The drama also features **Warren Masemola** and **Thulani Mtsweni** , both SAFTA winners, along with **Mbali Ngiba** , known for __The Real Housewives of Durban__. **Where to Watch:** Showmax ### ‘Beauty and the Bester’ (South Africa) __Beauty and the Bester__ is a three-part series that examines the rise and dramatic downfall of **Dr. Nandipha Magudumana** , once celebrated as a glamorous celebrity doctor and entrepreneur. Her carefully crafted image collapsed when her relationship with convicted rapist and murderer **Thabo Bester** was exposed, placing her at the heart of one of South Africa’s most sensational scandals. __Beauty and the Bester__ retraces the events that gripped the nation in 2023. From staged celebrity appearances and lavish living to Bester’s shocking escape from Mangaung Maximum Security Prison, the story spiraled into chaos after a viral photo showed the pair shopping at Sandton City. What followed was a nationwide manhunt that ended with their arrest in Tanzania and extradition back to South Africa. **Where to Watch:** Netflix

The Sudan Liberation Movement/Area (SLM/A) has called for help in recovering bodies and rescuing people following a landslide in the remote mountain village of Tarseen, in western Sudan. According to the UN, between 300 and 1,000 people may have lost their lives in the fatal incident, caused by several days of heavy rainfall. Only one survivor has been identified. ### The SLM/A, a rebel group that controls parts of western Sudan, released a statement appealing for humanitarian assistance in collecting bodies and possibly finding additional survivors. “Tarseen, famed for its citrus production, has now been completely levelled to the ground,” the group said in its statement. However, its remote location in the Marra Mountains could affect rescue and aid efforts, with the UN humanitarian mission in Sudan citing logistical issues. “We do not have helicopters; everything goes in vehicles on very bumpy roads. It takes time, and it is the rainy season – sometimes we have to wait hours, maybe a day or two to cross a valley,” UN deputy humanitarian coordinator in Sudan **Antoine Gérard** said, adding that, “bringing in trucks with commodities will be a challenge.” The Jebel Marra Mountains region became a place of refuge for many citizens fleeing North Darfur state, as the civil war between the Sudanese Armed Forces (SAF) and the paramilitary Rapid Support Forces (RSF) continues to rage on. El Fasher, the capital of North Darfur, is being besieged by the RSF amidst a brutal genocidal campaign. The SLM/A is neutral in the civil war, which made its controlled territory a destination for those who fled there months ago. “We appeal to international humanitarian organizations to urgently intervene and provide support and assistance at this critical moment, for the tragedy is greater than what our people can bear alone,” Darfur’s SAF-aligned governor, Minni Minnawi, stated, calling the landslide a “humanitarian tragedy.” For those who can help, consider donating to the UN’s Office for the Coordination of Humanitarian Affairs (OCHA) in Sudan and the International Committee of the Red Cross (ICRC) mission in Sudan.

Body percussion, Amazigh and Maasai vocals, polyrhythmic soundscapes that merge analog drum machines with African instruments and Sufi chants — these are just a few of the sonic elements that make up __MUTANT__ , **Guedra Guedra**’s second album. ### For this project, the DJ and producer — born **Abdellah M. Hassak** — spent recent years collecting sounds and inspiration from across the continent, traveling to Tanzania, Guinea, Mauritania, Senegal, Egypt, and Tunisia for field recordings that he incorporates into his electronic music. “My creative process always starts with listening,” Hassak tells __OkayAfrica__ in a call from his home in Marrakech. “We didn't have access to this material before, but now I can discover archives from different places.” His artistic namesake, __Guedra,__ is a traditional percussive instrument, a large earthenware jar, as well as a sacred Amazigh ritual dance practiced in the southern desert regions of Morocco, typically led by women. ### ### Guedra Guedra is more than an artist name — it’s a socio-political concept and project through which Hassak archives and re-centers African rhythmic traditions to decolonize sound and “celebrate African complexity and futurism.” He doubles his name as a way of extending the roots he honors in his music, to step onto a dance floor that makes space for imagination from a place of deeply knowing tradition. Blending the organic with the electronic, __MUTANT__ is a vibrant and intentional journey across the continent. It’s danceable, sure, but beneath its energetic surface, it’s a class in African instrumentation, rhythmic and spiritual tradition, and music history. ### ### “African percussion is more than just music; it represents the heartbeat of life, from breathing and walking to the changing seasons and the pulse of the earth,” Guedra says about “Drift of Drummer,” the album’s opening track which references Djémbe rhythms and vocals from Guinea as well as the Ndokpa, a traditional xylophone of the Banda people in Central Africa. While each song carries sounds of different places, polyrhythms, which make use of two or more different rhythms simultaneously, constitute the project’s throughline. “I never used to think of polyrhythms, I just composed,” says Hassak. “But when people listened to my music, they’d talk about them. So I tried to learn more about polyrhythms from other African countries and adapt them into the technological equipment that we have today.” “It’s like a conversation where everyone finds their place in a group. They play their own rhythm, but it can meet in a place where the others are playing,” he continues. “This is what all African polyrhythms have in common.” ### ### That is not to say that all these rhythms are the same. Each region has its own concepts and percussion. On __MUTANT__ , they converge in a Pan-African exploration of what it means to be able to access all these different musical corners of the continent through modern technology. “Machines were not created for music from SWANA, Africa, or South America, but it’s a new creative challenge to use this software and develop our music,” he says. “I believe that electronic music has the power to deconstruct technologies and machines, to integrate our social practice of making music.” ### ### When Hassak cannot travel, because intra-African travel is expensive and often badly connected, he asks friends to send him field recordings or looks for random, spontaneous recordings on YouTube. He then improvises in his studio, playing around with sound until he starts sculpting the layers and strings that will eventually tie a poem or a chant to a drum and a synth. How do people feel about the way he reinvents their folk music, adding synths and bass to often spiritual traditions? “They are really open to reimagining traditional music,” he says. “In Morocco, we have lots of collaborations between people playing jazz or reggae or rock and gnawa. And some places in Africa, like Ethiopia or Morocco, have traditional music that is completely electronic. ### ### It is this emphasis on collaboration that makes __MUTANT__ so interesting. On “The Arc of Three Colors” and “Tamayyurt,” Amazigh singer **Foulane Bouhssine** lends his voice to preserving the tradition of __Ahwach__ , a cultural practice of community expression through dance, song, and poetry that is deeply rooted in Amazigh villages of the High and Anti-Atlas Mountains. “The idea is to recreate new music coming from this collective choreography and the Amazigh spirit,” says Hassak. On “Tribes with Flags,” one of Hassak’s favorite tracks on the album, award-winning director, producer, and visual artist **Jihan El-Tahri** invites listeners to imagine themselves as future African archeologists reflecting on the decay of Pan-Africanism. Sifting through remnant memories of the period of independence, she wonders if it has died or can still be revived. El-Tahri’s words, “Was it **Lumumba** , **Nkrumah** , **Nasser** and **Cabral** who were misguided or did we just go astray? [...] When did humanity lose its compass?” are followed by a crackling silence in which Hassak hopes that listeners will take a moment to think about the questions raised.

__“All oppressed groups strive for that which is deprived.”__ - Seun Kuti In 2008, when **Barack Obama** became the first Black U.S. president, it was arguably the most momentous first for Black people in the U.S. — and vicariously for Black people across the world. In the first episode of __OkayAfrica__ ’s new podcast show, __Bird’s Eye View__, Obama is one of several influential Black figures referenced in relation to novel achievements. ### In an exploratory conversation, hosts **Seun Kuti** and **Bro. Diallo** (**Diallo Kenyatta)** dispel the idea that “First Blacks” are an expressly positive credit to the global Black community. Their back-and-forth highlights how the fanfare attached to being the first Black U.S. president, or the first Black billionaire, or the first Black person to do anything seen as immense or substantial, holds little intrinsic value if these achievements aren’t in proper service of society. Both pan-Africanists who are highly critical of the social imbalance capitalism encourages, Kuti and Bro. Diallo relate their perspective to how most of these accomplishments are connected to an inherent pursuit of power. They also relate their topic to the centuries-long oppression of Black people through slavery, colonialism, and racism, creating the same conditions that Black people need to overcome to do these great things. In his usual mix of bluntness and humor, Kuti references the South African-born richest man on the planet and his controversial salute, speaks on the Nigerian-born leader of a major U.K. political party and her fiery denigration of the place where she grew up, while also critiquing African leaders for being complicit in Africans vying for the power to be recognized as high-achieving. In the middle of the episode, Bro. Diallo introduces the segment, “All Praises Due,” giving a concise history of the works and philosophies of the great pan-Africanist **Marcus Garvey**. With this first episo ### Watch Bird's Eye View Episode 1 here Enjoy the videos and music you love, upload original content, and share it all with friends, family, and the world on YouTube.

On this month’s roundup, we spotlight some of the freshest and most compelling sounds emerging from Southern Africa’s vibrant music scene. From the hypnotic amapiano prayers of **Zoë Modiga** to the punk-fueled urgency of **Lerato Orchestral Collective*,** to**** Zimbabwe’s **Chillmaster** and Botswana’s **Titose,** these tracks traverse borders and moods with confidence. Be it deep house grooves that get your body moving, famo’s relentless lyrical flow, or poetic reflections on love and longing, this selection is yet another testament to the variety that keeps brewing throughout the region. ### Kota Embassy, Zoë Modiga, Ivy Beatz, Dj Mremz - “Guqa” (South Africa) **Zoë Modiga** is absolutely goated, a legit, forthright, self-assured artist who makes magic out of every situation she is in, especially when the situation involves music. When she’s not selling out venues with her solo work or composing head-nod bangers with her **Seba Kaapstad** collective, she steals our souls covertly over electronic beats. “Guqa,” meaning ‘kneel,’ is prayer in the form of an amapiano heater. **Kota Embassy** (comprising N’kay and Nim), **DJ Mremz,** and **Ivy Beatz** create the perfect soundscape for her to fly. This is sheer excellence, proof of what an artist at the top of their game is capable of doing. Such range, such brilliance shouldn’t be allowed. ### Lerato Orchestral Collective * - “Swim” (South Africa) **Lerato Orchestral Collective*** are about as punk as it gets. On “Swim,” they channel raw emotional intimacy through swelling guitars, a bassline that hits with precision and purpose, and drums that rattle like distant thunder. Their vocals are gritty, soulful, and unapologetically human, trained to sing the blues for the oppressed, carrying stories of struggle and defiance. ### Chillmaster - “Wakahwina Kare” (Zimbabwe) Zimbabwe has a long and rich tradition of guitar-driven music, stretching from the infectious grooves of the **Bundu Boys** to the revolutionary Chimurenga rhythms of **Thomas Mapfumo** , the soulful melodies of **Eric Macheso** , and the timeless storytelling of **Oliver Mtukudzi**. These artists shaped the country’s musical identity and created a legacy where rhythm, melody, and narrative intertwine seamlessly. That enduring spirit of Zimbabwean music continues to thrive today, carried forward by a new generation of artists who reinterpret these influences for contemporary audiences. Chillmaster Music’s latest release embraces this heritage, riding the wave of guitar-led tradition while infusing it with Afrobeats energy, modern production, and his own distinct flair. ### Mohlaka Motšo - “Tsielala” (Lesotho) “Tsielala” is a word used to quieten the masses during public engagements, usually uttered by an authoritative figure such as a chief. In the hands of **Mohlaka Motšo** , it becomes a call-to-action, a re-grounding of famo’s core principles of sharp lyricism and driving accordion-led instrumentation. This particular format of the song is known as Masholu, where the artist raps continuously with no chorus to interrupt the flow. For seven unbroken minutes, Mohlaka Motšo proves he’s more than capable of holding his own against anyone. ### Nutty Nys - “You Say” (South Africa) You Say by Nutty Nys **Nutty Nys** is an established figure on South Africa’s deep house front. After spending his early years championing groundbreaking rap acts on his YFM radio show, he transitioned into a fully-fledged artist, producing a string of notable hits. His latest release, “You Say,” continues in the vein of his recent output: experimental and exploratory, yet grounded in familiar Afro-house textures, gqom-inflected rhythms, and, crucially, the vocal, that ever-central feature of great electronic music. ### Sannere - “Sentebale” (Lesotho) **Sannere** paints relatable images with his words, exercising a linguistic freedom that lets him take risks others might fumble. A song feels safe in his hands. He knows how to mold emotion, how to move in lockstep with the rhythm, and how to deliver performances that linger. On “Sentebale,” he dips into his loverboy bag, singing about waiting for a sign from the ancestors that the woman he desires is truly the one chosen for him. “ __Hobane mabopong a Mohokare, ho na le sentebale/ ke thotse ka palesa e monko o monate, sentebale__ ,” (on the shores of the Mohokare River, there’s one I can’t forget/ I found a sweet-smelling flower, the one I can’t forget) is a lyric so tender, steeped in romantic longing, so poetic and arresting, and Sannere delivers it with the ease of a master. ### Titose - “Falling” (Botswana) Botswana’s **Titose** is a revelation. A masterful songwriter, her voice is both enticing and grounding, carrying an edge that navigates the space between the sacred and the profane. On “Falling,” she bares her vulnerability, confessing to being utterly captivated by a suitor and completely powerless in the face of her emotions. __“Yes, it’s true that I’m falling for you,”__ she admits, her declaration winding through a maze of desire and uncertainty, wrapped delicately in a ribbon of sweet, irresistible harmonies. The song captures the thrill and fragility of surrendering to love, painting intimacy in shades both tender and bold. ### Chynamusique - “Don’t Wait Till I’m Gone” (feat. Poizen, Earful Soul, Lilac Jeans, Diamondancer) (South Africa) **Chynamusique** ’s latest release is a house music masterpiece, and “Don’t Wait Till I’m Gone” offers just a taste of the brilliance he’s cooked up. The track showcases his talent for crafting unforgettable hooks and building moments that keep the dance floor moving, blending infectious energy with finely tuned production. It’s a song that stays with you as much as it gets your feet moving, and demonstrates his signature ability to marry melody with rhythm.

It took a while for **SPINALL**to determine the direction of his new album. The Nigerian DJ and producer wanted to create an intentional body of work that reflected his artistic growth as a curator. “I just leaned back to the love for music itself,” he revealed in a recent conversation with __OkayAfrica__. “When I made the first and second singles of this album, I didn’t know what I was doing anymore. I had a moment of clarity … listening back to some of the songs my parents used to play growing up — a particular song stood out — and that kind of inspired me to keep my focus and the direction going.” ### That song was made by **Ayinde Bakare** , a pioneering juju artist born in 1927. A Lagosian by birth and experience, SPINALL saw the potential of weaving the city’s color into a new stream of inspiration. His reinterpretation of Bakare’s record would become the opener of __Èkó Groove.__ “There’s so much groove in Lagos,” he says, “and I’m not just talking about clubs, raves, I’m talking about __actual__ groove. At every point in time, people have used music to get by. I’ve played worldwide on some of the biggest stages around the world, and I’ve seen how powerful the Lagos groove is. So I thought it’d be nice to put out an album from a groove curator as myself. It’s the Lagos groove — __Èkó Groove.__ ” On __Èkó Groove__ , we witness SPINALL solidifying his prowess not just as a curator but a creator. All of the album’s songs were initially produced by him, with additional production coming from the likes of **P Priime****, Blaise beats, TMXO,** and other accomplished hands. The 14-track project is marked by a striking cohesion. With its early parts punctuated by the warm riffing of Afro drums, the album's second half soars into the world, tellingly featuring a song titled “Miami.” A balanced act from one of Afrobeats’ biggest names, there’s incredible potential in how SPINALL merges sensibilities from different eras and artists, seamlessly incorporating a **Buju Banton****** feature with the same poignant force as we hear the new age artist **Shine TTW** on another record. ### ### “Genuinely speaking, I’ve never wanted to do anything alone,” says SPINALL about his open-handed collaborative approach. “I believe that when two heads or more are gathered, things just become better. I’m not one of those producers who wants to die by credits or rights. I am aware that those who chase credits will never be happy. I’m also in it for the bigger picture. Instead of saying I want to do everything myself, I’m very proud and humble enough to let other people take part in making the song sound as beautiful as possible. Especially when we remember that these songs are going to last forever.” Even with this collaborative zest, SPINALL says he never chases an artist to make music. Whether it’s Afrobeats icons **Wizkid** and **Olamide**, or the American rap great **T.I.** , R&B trailblazer **Summer Walker**, or South Africa’s vocal powerhouses like **Tyla**and **Ami Faku** (all of whom appear on the album), these are artists who key into the vision and want to make music with SPINALL. “First and foremost, we should remember that I am SPINALL,” he says matter-of-factly. “It is an honor that you get to work with me. I am very aware of that. Let that not be misconstrued. Making music, I don’t chase artists to make music; I make music believing that you would like it, and if you don’t like it, that is understandable and okay. The songs here were made out of ingenuity, honesty, pure love, and in the good spirit of collaboration.” Since breaking out as a radio DJ in the 2000s, SPINALL has been present through every turn of Afrobeats’ journey into a legitimate global sensation. His studio albums—of which __Èkó Groove__ is the sixth—boast a mesmerizing portfolio of the biggest and most promising acts in the game. From getting an ascendant **Burna Boy** on his 2014 debut single “GBA GBE E” to playing at Glastonbury (the first Nigerian after **King Sunny Adé**) and Coachella, he’s become arguably the greatest Nigerian DJ ever, and he’s not shy about his accolades. ### ### “My journey has been great, humbling, inspiring, and beautiful,” he says. “I am the reason why many Nigerian DJs are doing what they’re doing now, and I’m happy that I’m still championing that and doing it in the best possible way. I am also learning a lot of things while I’m doing this, knowing fully well that I have no mentor. I am creating a blueprint for a lot of Nigerian DJs.” Truthfully, before SPINALL, there wasn’t much ground covered in terms of how a DJ presented themselves. Afrobeats had greats like **DJ Jimmy Jatt** and _****_**DJ Neptune**, but their influence circulated more within the halls of artistry. It was SPINALL’s cap, his business acumen in setting up a record label, making scene-defining records like the **Mr Eazi** and **Kizz Daniel**-featured “Ohema” and “Baba” respectively, that planted the seed that sowed long-term rewards, and SPINALL is still here reaping the benefits. “It was super intentional,” he says about how he’s moved across the industry. “After university, I had a tough time deciding what I wanted to do. I spent seven years studying engineering; after that, it was very hardcore to do music. I wasn’t a dull boy; I had some of the best grades in school. So it was very hard convincing myself that I was going to do this. I was conflicting myself, I was so disrupted from the inside. Then I finally made up my mind that I was going to do music, but I told myself I was going to do it differently.” ### ### This is how the cap came into the picture. “I wanted a look that would represent where I come from,” he says, “I wanted a look that was different and fly, and I remember my dad used to wear these hats when he’s going to parties. In today’s world, I am ‘party.’ I am the life of the party. So when you see me with the cap, you know it’s about to go down.” With his magnetic presence at the summit of Afrobeats, SPINALL thinks the music being created is number one in the world. He’s positioning himself to continue being a trusted artist, and one of the more obvious signifiers of that is the removal of ‘DJ’ from his name, now simply going by SPINALL. Was this part of a creative instinct? “Yes,” he says almost immediately. “I feel like in today’s world, we’re doing way more than DJing. When I started, I was just DJing, but today I’m producing songs, I’m writing songs, I’m making songs for myself and for others. It’s bigger than just DJing; I wanted it to be clear I’m SPINALL. It’s still the same guy, but SPINALL is just smooth, and it’s jiggy. I like to be jiggy.” All this perspective comes full circle on __Èkó Groove__ , whose ambitions swirl with the creative as much as the autobiographical. “ __Èkó Groove__ itself is just me giving kudos to Lagos,” he says. “More importantly, it shows how crazy it is that I started my career in Lagos, and now I’m on the biggest stages around the world.__Èkó Groove__ is an album that would stand the test of time, for sure. This album is by far the best project I’ve ever put out.” ###

There are multiple narratives about African film, the most prominent and pertinent depending on who you ask. There’s the theory that we’re on the cusp of increased global visibility around the same period that international streamers are seemingly reducing interest in Africa. There’s another that African filmmakers are reaching strong levels of renown at global festivals, amidst the widespread rhetoric that quality is lacking in the mainstream of the more popular African film scenes. ### For the co-founders of the African Film Press (AFP), there’s a definite need to elevate the conversations around African filmmaking. Founded in 2024, the AFP is an alliance of three independent African film-focused media platforms, __Akoroko__ , Kenya-based __Sinema Focus__ , and Nigeria-based __What Kept Me Up__(__WKMUp__). With a hyper-focus on nuance, the AFP is setting a facts and quality-based benchmark for cataloguing and evaluating African film. AFP’s next order of business is the AFP Critics Prize, set to launch later this year at the Surreal16 (S16) Film Festival in Lagos, Nigeria. The prize is a way to centralize and heighten critical voices within the African film ecosystem, potentially leading to increased visibility for the invaluable but often slighted importance of nuanced criticism. “There’s no formalization of criticism in Africa, where people are going to film school and studying film theory, then coming out and becoming full-time film critics,” __Akoroko__ ’s **Tambay Obenson** tells __OkayAfrica__. “It’s not institutionalized, and this is part of a way to sort of formalize film criticism in Africa and say, ‘Look, we have this critics prize,’ and showcase criticism as something that is active on the continent and needs to thrive, because that’s one of those missing elements.” ### Being a film critic in Africa can be a difficult sojourn, because critics often find themselves differing from the public’s tastes, and some filmmakers are hostile to anyone with views that are less than flattering to their efforts. Also, in the post-digital era, where everyone can share their tersely worded, blanket opinions, backlash is never far away. However, within the context of fragmented film industries across Africa with similar challenges at the perpetual crossroads of commercial ambition and strong quality, the lack of emphasis on critical perspectives isn’t doing that much good. “What people forget as well is how criticism elevates cinema culture,” _Sinema Focus_ ’ **Jennifer Ochieng** says. “That’s why, for us, the critics prize is coming in because we believe that there needs to be constant and in-depth discourse beyond social media, where everyone is a critic. People forget that we need to engage with film on a deeper level and dissect what things mean, looking at the cultural context of the film, the historical context of the film, not just how a film is in terms of [commercial] performance.” ### ### It’s a common sentiment among many African viewers — and even filmmakers — that the primary purpose of film is entertainment, a limiting outlook that makes the diversity and creativity of filmmaking on the continent seem inaccessible. Very often, critically acclaimed films find their way to international — and sometimes local — festivals, and even when they see wider release, public reception may be lukewarm — sometimes assisted by the machinations of the local ecosystem. Strengthening the connection between filmmaking, film-viewing, and film criticism is no doubt key to fully unlocking the possibilities within African film. “We actually need to cultivate audiences, and part of that work is done by journalists, by critics,” Obenson says. An integral effect of AFP’s pan-African efforts in the near future could be a better integration of conversations about African film across the continent. AFP is aiming to achieve this through the upcoming Critics Prize. The prize is set to have a rotating cast of judges across the festivals where it will be awarded, an approach that will help in building a pan-African network of film journalists. “Europe is connected, America is connected in a way, the global film industry is connected, so as much as we are connecting within the continent, we’re also looking to connect ourselves to the global film space,” __WKMUp__ ’s **Ikeade Oriade** says. ### “A lot of times, people say critics or journalists are always complaining that the industry needs to build structure, but what about us? How are we structuring and engaging, and mobilizing ourselves? This is a way to start building the structure that we are telling those filmmakers to build and telling those actors to come together for.” Oriade also makes a point to add that the prize will not be prioritizing already acclaimed films and the kind of arthouse efforts that some might expect to be favored. He cites **Rungano Nyoni** ’s comedy drama, __On Becoming a Guinea Fowl__, as an example that could’ve won the prize if it were in existence a year ago, because it’s “a comedy drama, accessible, made to steer something in your heart, and speaks to a timely conversation in an African society.” Similar to the FIPRESCI Prize awarded by international critics at prominent international film festivals, the AFP co-founding trio is working on awarding the prize across multiple African film festivals. “Ideally, it will be one every quarter, but we don’t know if we’ll be able to do that [because] many African film festivals happen in the last half of the year,” Obenson says. “Within the first year or so, we’ll have a much more grounded understanding of how we want to move forward.” The AFP co-founders will serve as judges for the inaugural edition at the S16 festival, where the winner will receive a cash prize, a trophy, and a certificate. As the award begins its journey across film festivals, the co-founders are hoping it lays the critical groundwork for structured film criticism and conversations on the continent.

Every week, __OkayAfrica__ highlights the top African music releases — including the latest Afrobeats and amapiano hits — through our best music column, __African Songs You Need to Hear This Week__. Read ahead for our round-up of the best new African music tracks and music videos that came across our desks this week. ### Tiwa Savage – ‘This One is Personal [LP]’ As the title implies, **Tiwa Savage**’s new project was created mainly for herself. Early into the project, we glean the R&B leanings of the album, which was a formative sound for the artist. With features coming from **Skepta** , **taves,** and **James Fauntleroy** , it’s obviously a closely curated work, aimed at honoring the pristine streams of inspiration that’ve been with Afrobeats for as long as it’s been around. Going off the focused scope of the LP, there’s great potential in this being one of the year’s standout tapes. – Emmanuel Esomnofu ### Lordkez [Remix] - “Aweh” feat. Cassper Nyovest **Lordkez** ’s __You, Me & The 90’s__ is a definitive R&B album, one steeped in the traditions of the genre yet ambitious enough to bend its borders. To call it just one thing feels limiting. “Aweh,” released in March, was an instant smash – relatable and magnetic, its video folding hood aesthetics and divine choreography into bite-sized brilliance. The **Cassper Nyovest** remix nods directly to classic rap and R&B pairings of the nineties; slipping into his Motswako bag, Cassper delivers with refined ease: “ __You make me wanna change the life e ke e phelang/ really wanna make you my wife, sa b’serious__.” It’s smooth, familiar, and forward-facing all at once, as if we’re anticipating the 2000s all over again. The result is self-assured art: unafraid, unflinching, and right on the money. - Tšeliso Monaheng ### CIZA – “Isaka II (6am)” feat. Tems, Omah Lay, Thukutela & Jazzworx The dreamy house production of this song gives an immaculate soundscape to float over. Taking turns to spell out the beauties of life, “Isaka II (6am)” is a purposeful remix that gives even more gravitas to the original record, from the ethereal swoon of **Tems’**verse to the brief but poignant elucidations of **Omah Lay**. A fine demonstration of how to bring different sensibilities together, this reimagined version of “Isaka” combines the best aspects of the West and South of Africa, showing just how much our ears for groove interlap. – EE ### Kujenga - “Ransome, Pt. 1” Since their debut in 2019, **Kujenga** have weathered the peaks and valleys of the live music circuit while staying rooted in who they are: impeccable musicians with soul, cultural workers demanding better for Black and Brown lives worldwide. Their latest release tips its hat to Fela Kuti, acknowledging both his towering legacy and the universality of his sound. The project unfolds in two movements: first, a laid-back groove that lingers, then a fiery, on-the-nose burst that insists on attention. Each part feeds the other, mirroring the duality of African existence, with horns amplifying the multiplicity of our lived experiences. Play it in the sun, with your feet on the grass – it’s medicine. - TM ### Orchestra GOLD – “Diyanye Ko Te Sa” “Diyanye Ko Te Sa” means __“desire is unquenchable”__ in the native Malian language of **Orchestra GOLD** ’s**** singer-songwriter **Mariam Diakite** — and the sonic choices of the song amplify that sentiment. From the horns to the dusty percussion that punctuates the record’s craze, there’s a rich feeling of attraction that permeates this record. Translating their psych-rock impulses through an audible Afro influence, this single sets up the hype favorably, going into an album scheduled for release in October. – EE ### Eli Mary - “Mulholland” On “Mulholland,” Johannesburg-based **Eli Mary** goes for the jugular, concocting beats, melodies, and lyrics that jolt the heart and leave the body reeling, as though the song’s structure carved itself into your pulse. “ __Waiting for time to be just perfect/ introspection made me think I wasn’t worth it,”__ she admits, capturing the tug-of-war between self-doubt and the pursuit of growth. It’s a lyric that opens the door to more expressions of longing – for something greater, something expansive and fulfilling. Eli Mary doesn’t rush through the song; every space is a moment to reflect on the message, a chance to take it all in without the overwhelming feeling of being left behind. This song holds you in a bind while caressing you gently, a reassurance that after the storm shall emerge brighter days. - TM ### Young Jonn x Wizkid “Cash Flow” **Wizkid**is in the midst of one of his most engaged feature runs ever. On “Cash Flow,” he brings an icon’s touch to **Young Jonn** ’s trademark energy, offering the same zesty delivery that’s seen him soundtrack the glitzy excesses of a superstar lifestyle. As expected, their pairing is a delectable affair, blending their distinct approaches to paint a riveting picture of how life keeps bubbling and new, sensual memories are being made. Set to a finely arranged beat, it has great potential on the dimly lit dance floor. – EE ### Internet Athi - “Nguwe” Exactly a year after releasing the groundbreaking “Wena,” a song that deserves a permanent place on every wedding playlist, **Internet Athi** returns with a refreshed perspective. He digs deeper, offering pure, melodic, gospel-infused soul that floats somewhere between jazz and the divine. His voice doesn’t simply carry the music; it guides it, tracing its contours, pausing to breathe, then rushing back in, swinging hard and fast, relentless, never surrendering. Nothing feels out of place here; every layer lands with intention: the backing harmonies that cradle him, the horn section that punctuates each swell, the strings that wreck your heart and leave it scattered. For better and for worse, this is spirit music. - TM ### Wizard Chan – “Amen (God My Dealer)” Able to synthesize the spiritual with the visceral, **Wizard Chan**’s music is remarkable and refreshing. It’s a breakaway from the mainstream impulse of excess, stripped down to the very soul and yearnings of a heart in search of fulfillment. “Amen (God My Dealer)” continues in his unique style, with his effervescent delivery and imagery set to an exciting drill-inflected production. It’s a soundscape he’s explored previously, and here that mastery comes to the fore. – EE ### Madala Kunene & Sibusile Xaba - “Izimpisi” Some songs feel lived in. They carry multiple lives at once, as though they’ve witnessed both the best and worst the world can offer. On “Izimpisi,” **Sibusile Xaba** and **Madala Kunene** – the former a student, the latter a master of isiZulu guitar – take turns levitating, lifting mind and spirit with acoustics tuned to a higher frequency. This is folk music steeped in ancient wisdom, its tradition carried forward intact, offered anew without ever severing it from its time and place. - TM ### Elestee – “Designer Baby” For a while now, **Elestee** has been knocking on the doors of mainstream acceptance. In between releases, we’ve seen sparks of great talent, and “Designer Baby” only gives more credentials to her journey. She leans even more audibly into her hip-hop roots, orchestrating a fun song that thrills with an undeniably catchy flow. Living it up, looking flashy and classy—these are the trappings of life she depicts with sassy dominance, matching the colorful frames of the accompanying visualizer. – EE

“The moment you are recognized in front of the cameras, the first thing that takes away from you is your human self, and you have to fight to have it back] every time,” [**Gyakie******(Jackline Acheampong) tells __OkayAfrica__. It’s less than a week to the release of her long-awaited debut album, __After Midnight,__ and the Ghanaian singer-songwriter behind smash hits like “Forever” and “Rent Free” is discussing her commitment to maintaining her sense of self amidst the pressure of exposure. ### Growing up the daughter of Ghanaian highlife legend **Nana Acheampong** , the demands of exposure are a position that Gyakie understands all too well and one she is constantly trying to balance. One of the ways the singer is able to maintain that sense of balance is by reaching back to the past, to time periods when everything was simpler and life had a softer edge around it. “I feel like I discovered some peace of mind from back in the days,” Gyakie explains, considering her words and allowing herself time to mull over each sentence, so that when she releases them, they carry a charming ring of someone who is reflexively honest. “Anytime I'm wearing some vintage outfit, it’s because at that time, life was really peaceful. When I put them on, I feel at peace, and it takes me back because everything right now in the world is just not fun anymore.” This reaching back to the past and into moments of wonder also forms the backbone of her brilliantly delivered debut album, __After Midnight.__ In a world barreling towards hyper-division along various lines and a disorienting surveillance culture that has worsened with the penetration of social media, Gyakie is in constant pursuit of life beyond the screen. A life that’s trimmed with contentment and a staggering self-awareness. This debut serves as a perfect repository for this pursuit. ### ### __After Midnight__ is a thrilling project featuring a blend of R&B, soul, and Afropop stringed together with clever lyrics — roving the rough but also tender plains of love, desire, and contemporary romance. The album took nearly three years to complete and began with a conversation Gyakie had with her manager about moving on to a much larger project following a slew of hit singles and two EPs. But the making of the album, Gyakie says, was a task whose heft she hadn’t anticipated. “It’s sincerely a lot of work,” the 25-year-old says. “Just looking at how much work needs to be put into a body of work, anybody that sees an artist that has an album should really give them their flowers because to work on an album is not a joke.” With the album now out in the world, Gyakie understands that the work has only just begun. “Another door just got unlocked. The moment this album got submitted, that is how it felt,” she admits. “And you keep opening, and another door is locked. You have to do it again and find another key and open that one. And you keep going and going. But the good part is you are not going behind. You are going forward.” ### A correspondence There is something delightfully motivational about Gyakie. To speak to her is to feel as though one has reconnected with an old friend you grew up with, except they once disappeared and have now returned much wiser, less crippled by the uncertainties of being young and wanting. ### ### As an artist, Gyakie finds her biggest collaborators in her fans. The die-hards through whose eyes she can articulate her deepest desires. As she calculates it, she is in communication with them through her music just as they are through their interpretation of, and attachment to, her work. “As an artist, you need to also know your fans,” she explains. “You also need to study them and know what they like. And what they like is literally what you like because what you like is what they ended up liking that they become a part of.” From what she has observed, her core audience is drawn to her the most when she talks about love. “They love the Gyakie that speaks about heartbreaks. They love the Gyakie that really communicates with her emotions. Those people are like my disciples. Those people are the ones that will enter rooms and get new people to love Gyakie’s music. When the songs come out, you meet fans, they tell you, ‘I love this particular song because it got me through a heartbreak.’” But Gyakie isn’t merely feeding the machine; her audiences are an apt reflection of her own personal taste. “I also enjoy talking about love. I enjoy making songs that really motivate people. Anything that would trigger something in your emotions that is what I love doing. So, when I make those kinds of songs, and they love it, it’s what connects me and my people basically.” ### ### Her creative process is one she says is borne from this newly acquired sense of peace. “I am really rooting for everybody to hit this space mentally because I want to believe I have found peace of mind. I want to believe I have found something that was really going to make my brain rest or my mind feel at peace, and that is when I came to understand life.” ### On storytelling Growing up as the daughter of a music legend has often left Gyakie with questions of establishing her own voice and legacy. In this project, she manages to achieve a complete severance from that legacy. Instead, Gyakie establishes a voice that is clearly informed by her rich musical background and lineage, but one that is also fully hers. It’s a voice that’s globalist in its taste yet incredibly sharp in its perspective. On an experimental level, Gyakie — an avid student of **Nina Simone** and**Etta James** — carries the listener through a lilting wave of emotions. In this project, her voice is as powerful as her pen. Take the interlude “After midnight” for instance, where Gyakie’s voice snakes up, climbing heights and demonstrating incredible range over soft piano keys. It’s nothing like Gyakie as many know her, but it’s also aptly representative of where she is right now. “The interlude was written by me and a producer called **Baba Wood** ,” she says. “That song is a lullaby for love. Really and truly, it's like, you listen to it and you want to fall asleep in love. You’re kind of hearing dawn or hearing how midnight, after midnight, sounds like. That's why [the album] is called __After Midnight__.” ### ### The album’s list of collaborations is also deeply layered and reflective of the varied tastes that define Gyakie’s musicality. Alongside a range of genres, there are collaborations with artists of vastly different disciplines. On “Damn U,” she teams up with American singer **6lack** for a gushing song of love and sacrifice, complete with bare guitar strings and a stirring hook. In “Harmatta,n” featuring **Shatta Wale**, Gyakie delivers her most unforgettable work yet. Sexy and driven by a commanding self-assured energy, the song sits within the hard-edged corners of the project. Another incredibly standout collaboration comes from **Headie One** in “I’m Not Taken” — a strong, moving, narrative-driven declaration of commitment. Other collaborations in the album come from **Young Jonn**, **Omar Sterling,** and **Kojey Radical**. When it boils down to it, Gyakie knows exactly what she wants her listeners to take from this project. “I want them to take away motivation. If someone is listening to the album and their heart's broken, I want them to have a shift. Whether it made them bring out the pain more to reduce it from within,” she says. “There's a gospel song on there I want it to cause healing. All the positive love songs there, too I would love to see couples that are married… use it to flirt with each other. There's songs on there too for dancing. So, motivation, healing, happiness, love, and comfort is really what I want them to grasp from the album.” At the heart of it, __After Midnight__ is a brilliant and deeply authentic result of an artist who constantly fights for their right to be human, to be flawed, to be vulnerable, and to be seen yearning for a distinct kind of happiness, even if it is stuck in the past.

As the year winds down, there’s no anxiety from the Afrobeats world on what to do next. A movement typically permeated by groove, it’s around this time that artists drop the gown of melancholy and embrace something merrier, creating a lot of bangers to hold us for the rest of the year. This past month has been no different. Afrobeats artists have dug deep into their pockets, touching base with eclectic choices like Euro-pop and amapiano, whose flavored drums continue to be a strong scenic presence. As always, we stay within the reach of perfect musicality and transcendental success — these and more are the qualities we look out for when compiling this monthly list. Here are ten songs that most meet these requirements to feature as the top Afrobeats songs of the month. ### Amaarae – “B2B” **Amaarae**’s technicality as an artist cannot be understated. With impressive mastery of her talents, her songs give the exciting wholeness of well-contemplated creations. On “B2B,” a standout from the Ghanaian American’s new album __BLACK STAR__, there’s a throbbing sense of percussion that doesn’t stifle her vocals. Feathery notes float across the electro-charged beat as she sings about communion and fulfillment.__“I’ve been into you, I like what we do / now come into me, see my point of view,”__ she sings repeatedly, giving new life to the expression each time. Here’s a song poised to become a classic. ### ODUMODUBLVCK – “Pay Me” feat. Zlatan & Stormzy One of **ODOMODUBLVCK**’s strengths is the seamless ability to fuse different music sensibilities. We’re reminded of his bewitching skills again on “PAY ME,” a melodious gem that thrives on a sample of a Ghanaian classic from **VIP**. On feature duties, the unlikely duo of **Stormzy**and **Zlatan**bring individual flair to the host’s sing-along hook, bringing even more gravitas to the record. So far this year, Odumodu has thrown several tricks out, releasing songs with essentially distinct moods, no doubt a prelude to what he’ll be offering on his much-touted __INDUSTRY MACHINE__ project. On “Pay Me,” there’s a sweet alliance between several motivations that amplifies the record. ### King Perryy – “No You Can’t Be Sober (NYCBS)” The Afrobeats scene often operates on a punishing speed, and great songs sometimes go under the radar. Still, we’ll always champion music that goes away from the norm, and does so excellently, which is what **King Perryy** achieves on “No You Can’t Be Sober (NYCBS).” Known as an Afro dancehall scion, he departs the melodic embrace of that form and surrenders to the more viscerally charged electronic space. The bewitching, haunting beat created by producer **Calix** is a fine demonstration of what happens when artists go outside the borders of mainstream Afrobeats. ### Yemi Alade – “Mbali” There’s always been a consistency from **Yemi Alade**’s part to represent Africa. From her sonic elements to her visual presentation, no artist of her generation has been more successful in reflecting local pride, making her a rebel of sorts against the hyper-Westernization that’s prevalent elsewhere. On “Mbali,” she continues her purposeful run, taking the melodies of a southern African style that was popular in the 1980s and ‘90s. Anyone who hears the record will feel that warmth of familiarity, but more than just a step into the waters of musical legacy, Yemi Alade makes the song hers, layering it with distinct quirks that stand out on first listen. ### Victony – “Tanko” feat. Terry G When **Terry G****** began resurfacing on popular platforms, few would have guessed that **Victony** would be the first new age act to collaborate with him. But then again, the signs have always been evident. As seen from his mesmerizing __Stubborn__ LP, Victony has a knack for the pristine, often casting dreamy-eyed gazes at the scenes and people that have influenced his rise. As a legend of Nigerian dancehall, Terry G falls into that category. On “Tanko,” they merge their shared sensibility for the flavored craze, with Victony’s storytelling balanced in texture by the older act’s signature energy. ### Kwesi Arthur – “Real Thing” feat. King Promise Both **Kwesi Arthur** and **King Promise**have done well to represent Ghanaian music in the past decade. Between them, there’s a beautiful trove of impactful projects and songs, and it just makes sense for them to combine energies. On “Real Thing,” they embrace the tender swell of love, layering their distinct styles on the similarly mellow production. From King Promise’s cooing delivery to the warm longing of Kwesi, it’s a song that easily puts you in your feelings, reminding us that love, after all, is the reason why we live. Afrobeats artists have always understood this, and with this record, another solid addition is made to the contemporary canon. ### Ebne Hakim – “Tsehaye” You’ll never expect what hits you on “Tsehaye.” Soulful and psychedelic all at once, it’s undoubtedly one of the best songs released this year. For those who’ve paid attention,******Ebne Hakim**’s music is a breathtaking fusion of music from his native Ethiopia with influences from abroad. That fusion manifests beautifully on “Tsehaye,” which means ‘sun’ in Amharic. There’s a burst of sunny optimism embodied in the song’s essence, from Hakim’s affectionate delivery to the clap-sequence of the beat. ### Mavo – “Escaladizzy II” feat. Zlatan, Shallipopi & Ayra Starr Throughout this year, few Nigerian acts have been as fast-rising as **Mavo**. His unique style has the ability to synthesize several influences, at once sounding Nigerian and sometimes something else, or everything between alté-influenced hip-hop and amapiano. “Escaladizzy,” his biggest song so far, shines with that range, with Mavo basically detailing a fun night out with his guys. Charged by its prospect, the accomplished trio of **Zlatan**, **Shallipopi,**and **Ayra Starr** deliver fine verses over the synth-rocked beat, giving even more color and complexity to one of the most-loved songs out now. ### melvitto – “For Days” feat. AYOMIPO Over the years, **melvitto** has earned his rep as one of the most inventive producers around. Mostly orchestrating somber, after-dark beats, his work with other artists has created an entire section within Afrobeats, one where melvitto is the prime ruler and king. On “For Days,” there’s every bit of his mastery on display, from the haunting bass to its well-timed drums, which amplify the mood of a threatening affair. On his part, **AYOMIPO** keeps up the act, weaving intricate images that spell out how much of a threat he is. Promising an onslaught on the industry, his dark baritone is the perfect catalyst for the beat, working in perfect alliance as every second ticks. ### Tiwa Savage & Skepta – “On The Low” **Tiwa Savage****** has been sharing beautiful singles ahead of her forthcoming album. The latest of them is “On The Low,” a soul-stirring collaboration with longtime admirer **Skepta**. The Queen of Afrobeats shows her mettle on the mic, creating the sort of R&B-influenced song only she could make. A wistful track that recognizes the silent part of falling in love, it’s an emotionally nuanced song that’s given more agility with the presence of the British Nigerian rapper. She’s called the arriving album her most personal yet, and going off the mellow ease of this song, we’re in for a musical treat.

As Women's Month draws to a close in South Africa, it's worth pausing to celebrate the women reshaping South Africa's music landscape. From R&B and jazz to hip-hop and Afro-fusion, these artists are claiming space, defining their narratives, and challenging the norms of an industry that has historically limited women's voices. Through their work, they explore identity, heritage, vulnerability, and empowerment. Some confront the conservatism of the music ecosystem, others draw from generational legacies, and all assert creative freedom. These profiles remind us that the progress and influence of women in music are ongoing, dynamic, and transformative. ### Nanette **Nanette** is standing at the cusp of something monumental. With her forthcoming album, __Painfully Happy__ , she's deliberately pushing herself into uncharted territory. "I was definitely going bigger and better with this project. I wanted to step out of my comfort zone and really push the boundaries of the music and with myself and my writing," she says to __OkayAfrica__. The Durban-born artist has long been admired for her vocal agility and lyricism, and this new body of work is set to cement her place among South African R&B's leading voices. "I really think SA R&B is the moment right now. We've got so many diverse forms of R&B, and everybody is just contributing to the bigger picture, which I think is really beautiful." Nanette traces her sense of integrity back to her great-grandfather, poet and linguist **J.J.R Jolobe** , who helped translate the isiXhosa dictionary. "They left the legacy of preserving culture. That's what I want to try to do as well. My main goal is always to keep that same integrity and quality control they were so strict on." Her forthcoming project moves seamlessly between diaristic R&B, cinematic storytelling, and dance-floor-ready collaborations. "When it comes to the R&B, that's more vulnerable, more introspective. But when I write songs for the dance floor, my main purpose is to make people dance. It's okay if I repeat a few things; it's about the progression of the melodies." Nanette's journey has been one of constant duality: Durban warmth and Eastern Cape winters, isiZulu and isiXhosa, poetry and pop, vulnerability and bravado. "I think now it's much easier," she reflects. "I'm finding the balance between what I can share with people and what I can keep to myself." ### Umzulu Phaqa Music has always been a part of **Umzulu Phaqa's** life. "My father's love for country music and my mother's passion for gospel shaped my earliest listening experiences. Added to that, my grandfather was a Maskandi guitar player," she tells __OkayAfrica__. "The real turning point came when I realized that many South Africans shy away from experimenting musically, preferring safe formulas and proven methods. For me, rules are imaginary, made up by people who, in truth, don't even exist in the spaces where art truly lives. That shift completely changed my perspective and approach to music." After gracing songs by everyone from **Prince Kaybee** to **Lemon & Herb**, **Kwesta** to **Citizen Deep** , she is ready to release her solo body of work, created alongside fellow artist and producer **Msfit**. "My sound is about bridging the old and the new. I take the language and cultural richness of isiZulu and present it in a way that even someone from across the world can connect with. As we say in isiZulu, 'Sifaka isintu estayeleni' (we bring tradition into style). Times are always evolving, so I stay true to what defines me while still moving forward with the world," she says. Her album is set to be released any day now, following two successful listening sessions. "Listeners can expect something fresh, bright, and fun. Music, at its core, is joy and beauty, and we need more artists who embody that spirit. This album is multifaceted and not limited to a single genre, offering something for everyone. Above all, be ready for something exciting and new," she adds. ### Thando Zide At 25, **Thando Zide** is quietly carving out her place in South Africa's music scene, balancing the ambition of an independent artist with the realities of daily life. Her journey, marked by introspection and dedication, has been shaped as much by personal growth as by her musical explorations. Thando Zide's path to the studio wasn't immediate. "The first time I stepped into a studio, I was so nervous," she recalls. Starting in 2020, she often recorded at home during lockdown and learned to navigate her own workflow. By 2021, she felt comfortable recording herself and found freedom in creating music independently. "I prefer recording myself," she says to __OkayAfrica__. "I know my workflow. I can go for hours and forget to eat. I just get lost in it." Her debut EP, __Umvula__ , is a culmination of these years of experimentation and self-discovery. Songs first sketched on her phone evolved into fully produced tracks, blending neo-soul, R&B, hip-hop, and African musical elements. Growing up in a family of healers instilled in her a sensitivity to human emotion, which permeates her songwriting. "Even if I don't say it outright, I want my music to heal," she explains. Collaboration is also vital. Working with producers like **Ndabo Zulu** and artists such as **Manana** and Thando Zide thrives on a balance of guidance and creative freedom. She handpicks her bandmates, often friends from social media connections, ensuring that the people around her enhance the music rather than dictate it. "I love working with people who give you space to be yourself," she says. Thando's songs are deeply personal, often grappling with vulnerability and emotion. Choosing independence has been both challenging and rewarding. Funding her music from her own resources, she invests time and money into her craft, fully owning her creative output. "I'll remain independent until it pays off," she says. "Everything is my own. I don't answer to anyone. I make the decisions, and I reap the rewards." ### Amarafleur Getting her musical start in the same New Zealand ecosystem that produced acts such as **Ladi6** and **Fat Freddy's** __Drop__ , **Amarafleur** transitioned into a South African music ecosystem that was only starting to embrace R&B. She rode the wave, issuing releases on SoundCloud that helped grow her fan base. She struck a chord with 2021's __… And Then I Stopped Caring,__ and collaborated with artists such as **Tyson Sybatelli** and **Mx Blouse** over the years. "I don't necessarily see shifts in the representation of women in the music industry, more than I see women shifting this representation for themselves. I'm incredibly proud of so many women artists, and how they unwaveringly choose who they want to be, how they want to sound, and share their art on their own terms," she tells __OkayAfrica__. According to her, what still needs to change is the conservatism of the South African and African music ecosystems, particularly in how women choose to represent themselves. "We shouldn't still feel like we're taking a huge risk by wearing certain looks, creating edgy promo content, or writing lyrics that are designed to make you jolt. It slows our entire ecosystem's progress in many ways," she adds. The artist embraces the ability to release music at her own pace, though it comes with anxieties. "There's an endless anxiety that comes with 'going quiet' and subsequently being forgotten if you're not constantly putting out songs. The music I have created has held its ground so far, and perhaps, according to others' metrics, it may not be enough. But if you can still listen to Whole today, I can safely say I challenged conventions and chose timelessness or frequency." ### Ncesh Nonxishi "My mother is one of the first poets whose poetry I ever recited at about 12 years old," says musician **Ncesh Nonxishi**. Her debut album, __Apho Kunje__ , released in 2024, arrived as a fresh breeze on the already vibrant South African jazz scene. She also credits her grandmother's creative use of language as part of the influence on how she approaches words. "So I think as a songwriter who often writes from the perspective of a Black woman, I've definitely taken something from them as the women who raised me," she tells __OkayAfrica__. "I'm also very inspired by the creativity expressed in Xhosa folk songs, especially the explicit, erotic kind sung by elderly women. When it comes to performance, I'm inspired by many women, including **Miriam Makeba**, **Busi Mhlongo** , **Nina Simone** , **Thandiswa Mazwai**, and Zoë Modiga, among others. I love seeing a woman in command on stage while also letting go and being entirely free. As someone who took their time to come out with music, I've spent a lot of time just studying women when they perform, also being obsessed with their stage looks." The artist will be presenting her music at this year's Joy of Jazz festival and is aware of the many challenges women face in the music industry, which mirror broader societal issues. "So you need to uproot patriarchy, misogyny, femicide in society first for women in music to benefit. Quick fixes, though, could be: music education for all girls and boys, booking more women and paying them well, and educating boys and men in music about their destructive behavior, but also how to build genuine connections with the women they interact with," she shares. ### Eli Mary Joburg-based artist **Eli Mary** began piano lessons at a young age and continued them through university, where she studied jazz. "I learned theory and was discouraged from breaking rules, in classical music especially. Coming from that purely academic background, I have spent a lot of time trying to bring all these experiences together and discover how to walk outside of the restrictions that everything puts on us, and that's really what shapes the music I make today," she tells __OkayAfrica__. Her latest release, "Mullholand," is an introspective, melancholic work where her production skills, penmanship, and voice coalesce to form something strange and magnetic. "On one hand, I think South African artists in general, but particularly South African women, are being emboldened on the world stage, and rightfully so," she says. "Technology has also made it so that people can show their brilliance more directly, for the most part. From where I'm sitting, though, there is still a lot of work to be done. We are still the 'female producers' instead of just the 'producers,' or sometimes our work is only taken seriously until it's evident a woman made it, or sometimes how you look is still prioritized over the quality of your work. So there is still a long way to go in terms of how people think about these things." ### Trillion Petals **Trillion Petals'** debut EP, __Hill After Pale Hill__ , is a moving exhibit of masterful songwriting, unhurried production, and timeless music. "I usually start with the music, I start with the guitar, then the melody just comes," she says. "I think it's a fairly common experience for songwriters. The melody already exists; it's sort of like you uncover it, you discover it there wanting to be expressed." "I've always been drawn to a more realistic interpretation of life. I write a lot about love and heartbreak, but I enjoy writing about more esoteric, philosophical themes that aren't commonly explored in music, the human psyche, and what we are as human beings." __Hill After Pale Hill__ gathers five songs that carve out a lane running parallel to her other life as Honeymoan. "Writing with Josh and Skye (my bandmates) was really affirming. By the time I started my solo project, I'd earned so much confidence," she says. ### Moonchild Sanelly **Moonchild Sanelly** has never been one to shrink herself. With the release of her current album, __Full Moon__ , the self-proclaimed "blue-haired bombshell" leans even deeper into the mix of candor, satire, and vulnerability that has long defined her artistry. For an artist who first caught attention with her electric stage presence and fearless lyricism, __Full Moon__ is a reminder that she continues to rewrite the rules of South African pop stardom on her own terms. The album explores themes of love, power, and self-discovery. Moonchild Sanelly speaks openly about using music as both a form of confession and rebellion, where party anthems are laced with critique, and playful melodies are anchored by sharp observations about life, sex, and freedom. "It's always been about telling my truth," she insists, framing the record as both a celebration and a mirror. Her sound remains delightfully unruly, blending gqom's relentless pulse, kwaito's swagger, amapiano grooves, and a punk spirit that refuses categorization. Yet beneath the mischief lies a serious commitment to honesty. "I've always wanted people to dance," she says, "but I also want them to think." As one of South Africa's most distinctive performers, the artist has built an international reputation while remaining deeply tied to the local scene. __Full Moon__ solidifies that balance: an album that could rock a festival stage in Europe but also soundtrack a night in Durban or Johannesburg. For her, global visibility isn't about leaving home behind, but about amplifying it. Moonchild Sanelly continues to stand out as a shape-shifter who won't be boxed in. Full Moon is more than a release; it's a declaration that her orbit is expanding, and she's bringing the world along. ### Lia Butler From Durban to global stages, **Lia Butler** is steadily reshaping South African soundscapes with a genre she coined herself. "Neo‑Zulu is a fusion of the sounds that shaped my upbringing," she explains to __GQ South Africa__ , blending amahubo, umaskandi, umbhaqanga, R&B, and neo‑soul into a sound both nostalgic and forward-thinking. Music ran in Lia Butler's blood from childhood, with songs floating from her mother and aunt. The spark that lit her ambition was discovering SZA. "It made me believe, 'I can do that. I can be like that,'" she recalls. That belief transformed her. "Deep down, I've always known I was destined to be a star," she says. Choosing her stage name was intentional. Inspired by SZA's "Ju(Lia)," she picked "Lia," and "Butler felt like a perfect fit," now playfully mistaken as related to **Jonathan Butler**. Her influences range from trailblazers like **Simphiwe Dana** , whose "Ndirendi" video pushed musical boundaries, to luminaries such as Thandiswa Mazwai, **Lira** , **Jill Scott** , **Erykah Badu,** and Busi Mhlongo, with whom she aspires to stand shoulder to shoulder. Lia's music is emotionally rich and culturally rooted. She aims to reshape narratives—painting black love as supreme, black women as gods, black culture as beautiful, and black spirituality as powerful. Creating music is pure joy for her. "It's like going to a party… I often prefer freestyling over writing," she says, treating her creative process as celebration and storytelling intertwined. She's no stranger to standout moments: shooting the striking "Tempela Ya MaSpinara" with **Maglera Doe Boy**, earning praise from Thandiswa Mazwai, and electrifying audiences at Maftown Heights. Her biggest release so far, "Imimangaliso," emerged from heartbreak. She says she "was ghosted," felt vulnerable, sought spiritual healing, and ultimately bottled all that complex emotion into a song that beautifully captures the duality of love and pain. Her current single, "Umabukisa," floats effortlessly between introspection and celebration, with a heavy, head-nod hip-hop twist that blends airy vocals with subtle, hypnotic rhythms that linger and keep you company. ### Yugen Blakrok South African emcee **Yugen Blakrok** has spent the past several years living and working in Europe, navigating new spaces, cultures, and challenges while crafting her latest music. In a recent conversation with __OkayAfrica__, she described the experience as "surreal" and transformative, both personally and artistically. For Yugen, the process of making her new album was marked by isolation and resourcefulness. Away from the comforts of home and the support systems she was used to, she and her collaborator carved out a recording space in a renovated old house. Every aspect of production – from carrying monitor speakers across the country to building a functional studio – was a grassroots, DIY effort reminiscent of early hip-hop sessions. The intensity of creating in unfamiliar conditions pushed her to experiment and pursue her vision fearlessly. Living abroad also reshaped her sense of identity. Being a Black South African artist in Europe exposed her to cultural ignorance, micro-aggressions, and the realities of being a minority. These experiences, both frustrating and enlightening, informed her lyrics and artistic choices, giving her work a raw honesty rooted in lived experience. Despite the distance, family remains central. Yugen recounts the importance of connecting with her mother and siblings, even across continents, as a grounding force. These relationships shaped her emotional resilience and inspired the album's themes – identity, growth, and self-discovery. The move to Europe was strategic, enabling her to engage with international audiences while learning new languages and navigating the global music industry. Yet, she remains deeply rooted in her heritage. ### K.Keed "There's definitely a shift in how South African women are presented in the music industry," says **K.Keed** to __OkayAfrica__. The rapper, singer, and songwriter has carved a distinct lane with her music and boasts a range of epic collaborations – from **DJ Sliqe** and **Flow Jones Jr** , to **Nasty C**, to **Zoë Modiga** and **J'Something** – that will carry her for years to come. "Within each era, we've seen a lot of South African and African women take charge of their sounds. I think these pioneers deserve all their flowers. How it's presented offers a way, like, 'here's a variation of what African talent is.' I think embodying it and pioneering it is very important. Choosing to write your own narrative, whether it be through your background, is very important to take charge of your story; it affects how you're perceived and represented," she tells __OkayAfrica__. "I do feel like I'm part of a movement. When you get to a point in your career where you see that you're influential and you have an impact with the art that you do, then you have some obligation and responsibility to know that you have an impact on the music industry and certain fans out there. I am part of this hip-hop community and the music industry in general, and I feel like it's important for me and my generation to recognize that, and not be so careless with that. Aspiring to inspire the next generation is such a vital task, and an empowering gift to have."

From fresh and exciting comebacks to unpredictable collaborations, this month’s list of the best songs from West Africa is an exciting mix of Afropop, coupé décalé, soul, and R&B. The songs are culled from Côte d’Ivoire, Ghana & Nigeria. ### Taves - “Way2Yung” (Nigeria) In his first solo release of the year, 2024 breakout star **Taves** weaves a lyrically vibrant narrative into a groovy, Afropop bounce with “Way2Yung.” Gone is the wide-eyed kid who took 2024 by storm with hits like “Folake” and a feature on **melvitto** ’s “Ohemaa.” This new Taves is grown, and that shows in the way he articulates his emotions and confronts his position in the scale of a relationship. Taves puts the angst and restlessness of his youth, a most perceptive tactic, into a song about desire, need, and getting precisely what you want immediately. ### Kuami Eugene - “Emotional” (Ghana) In his newest release, “Emotional,” Ghanaian superstar **Kuami Eugene** returns to his tried-and-tested signature sound of soft highlife bounce and sleek Afropop basslines. Eugene uses club-ready, groovy beats to explore thematically dense topics — in this case, love and desire are at the center. It’s a skill that gives “Emotional” a layered and distinct feel, pointing to an artist who is as concerned about emotions as he is with giving his listeners a good time. ### Salle - “Underskirt” (Nigeria) **Salle** ’s “Underskirt” is a psychedelic, groovy Afropop jam. Dense with metaphors, fluttering strings, and writing that’s visual and cunningly brilliant. Salle’s music is filled with a richness and self-assuredness that can only come from someone who sees the world for exactly what it is. This gritty and perceptive musicality may stem from her triumphant story, growing up as a hawker on the streets of Owerri, a city in Eastern Nigeria, before making a name for herself as an artist with soul and charm. Salle is also a child of the internet, one whose career was bolstered by a freestyle she recorded that went viral in 2021. This is an experience that can often be disorienting for many, but Salle has handled it well, infusing her music with a culturally conscious and particular perspective. ### Josey - “Le Monde Est À Nous” (Côte d’Ivoire) **Josey** has the incredible ability to tease new meaning out of love with each new song that deals with matters of the heart. In “Le Monde Est À Nous” (French for “The World Is Ours” ), a summer love story unfolds under the sun and amongst the trees. As the title suggests, Josey wraps herself and her object of affection in a safe, assured cocoon away from the world’s gaze or judgment. What’s more powerful than knowing that the world is open and ready for your love? ### Serge Beynaud - “Yékiné” (Côte d’Ivoire) At any point in time, you will find only one thing on **Serge Beynaud** ’s agenda. The Ivorian singer and the king of coupé-décalé and loko loko just wants you to dance. In his latest track, “Yékiné,” taken from his newest album, __Créatair__ , there is energy, a heart-thumping beat, a catchy hook, and a cheerful call-and-response. These are all classic Serge Beynaud. And maybe it’s in the lyrics or the interpretation, but no Serge Beynaud sound feels the same. The intentions might be consistent, but the delivery always carries something interesting, something unforgettable. ### Bella Alubo - “Do You Believe in Love” (Nigeria) Emotional clarity is one of the biggest complications of modern romances, and **Bella Alubo** articulates that confusion and need for certainty with moving vulnerability. Where others might coat their true feelings in bravado or detachment, Alubo lets it all lie in the open, recounting old promises, reviving old affections, and openly questioning their legitimacy. It’s a move that lends a strong-willed layer to an otherwise easygoing song like “Do You Believe In Love.” ### Kwesi Arthur - “Real Thing” feat. King Promise (Ghana) In 2024, Ghanaian rapper **Kwesi Arthur** made a triumphant comeback with the EP, __This Is Not Tape III__ , following a hiatus of sorts. The 8-track project featured hits like “Fefe Ne Fe,” a slow-paced yet hard-hitting track that fit into an album befitting a comeback. Now, Arthur is amping it up with the release of “Real Thing,” featuring the reigning prince of Ghanaian Afropop, **King Promise**. A love story through and through, Arthur rises to his immeasurable rap talent in this bouncy track. The lyrics are sharp, blisteringly honest, and delivered with pomp. Arthur’s hiatus from the music scene was characterized by one-off releases, limited appearances, and a sense that a fast-rising star was living below his promise. With this new release, Arthur is a man who has been through the fire and has handled the pressure with skill without letting it consume his spirit. ### E.L - “Alaba” (Ghana) “Alaba” by Ghanaian rapper and musician _**E.L**_ is a clean, well-concocted club banger. Simple in its theme, E.L declares his affections and readiness to protect a love interest, but energetic with its beat and witty writing. “Alaba” sets the tone for a long and fun drive through the glimmering streets of Accra on a Friday night. ### Swayvee - “US III” feat. Gyakie (Nigeria & Ghana) **Swayve** e’s “Us” is one of those songs that has quickly become synonymous with the art of romanticizing. On TikTok, the song is popular among couple content and videos that observe the beauty of everyday life. It makes sense, then, that **Gyakie**, a singer whose diary-like observations about contemporary romance are sharp and clear-eyed, features on a remix of a track that embodies a beguiling openness towards desire. Gyakie reaffirms her commitment with a song that is drenched in feeling and longing. Missed last month’s picks? Check out our July 2025 West African music guide.

South Africa’s media fraternity is reeling from the sudden loss of **Matshidiso “Tshidi” Madia** , a respected political journalist and Associate Editor for Politics at Eyewitness News (EWN), who passed away on the morning of Wednesday, August 27, just days after her 42nd birthday, after a brief illness and hospitalization. ### Over the course of nearly two decades, Madia built a reputation for fearless reporting as one of the country’s most trusted political reporters, covering pivotal shifts in the country’s democracy. Colleagues and politicians alike praised her incisive questioning, her pursuit of accountability, and her ability to tell stories that resonated with South Africans across the political spectrum. Her recent trending work included reporting from the Oval Office in Washington, D.C. earlier this year during a meeting between U.S. President**Donald Trump** and President**Cyril Ramaphosa**. In that same trip, she challenged a __NewsNation__ journalist peddling the false claim of a “white genocide” in South Africa, pushing back with facts and exposing the narrative as a lie, a moment that underscored her stature beyond South Africa’s borders. EWN described Madia as “a powerhouse” who played a central role in shaping the newsroom’s coverage, as well as a “consummate professional, who worked tirelessly in pursuit of the truth.” Political leaders and colleagues across the media industry have paid tribute to her legacy. The Economic Freedom Front extended its condolences to the family, friends, and colleagues of the renowned journalist, and noted that “her professional journey reflected dedication and commitment to journalism.” “Tshidi took her profession seriously and respected people from all walks of life. It is truly an immeasurable loss to the media community, to the fabric of journalism in South Africa,” noted politician and leader of Build One South Africa, **Mmusi Maimane**. Rise Mzansi called her “a no-nonsense, fierce and unbiased media practitioner who plied her trade with passion, love and accuracy.” Her family released a brief statement, saying: “A respected journalist, she loved South Africa deeply and devoted her career to telling its stories. She brought joy and love to all who knew her.” Madia joined EWN after working across several newsrooms, steadily building a reputation as a clear and consistent voice in political journalism. She was promoted to Associate Editor for Politics in 2022, where she led coverage of the 2024 general elections and oversaw a team dedicated to scrutinizing South Africa’s shifting political landscape. Details of her funeral and memorial services are expected to be announced in the coming days. Madia’s death leaves a significant gap in South African journalism, with colleagues and readers alike mourning the loss of a reporter whose voice carried weight in the country’s national conversation.

In Twi, Efie means home. And when **Valentina, Kobi,** and**Kwame Mintah** were setting up the Efie Gallery, it was a feeling of home and a welcoming energy that they wanted their space to embody. Conceived in 2021 through an African music and culture festival and launched as a permanent space at the Al Quoz Creative Zone in 2022, Efie Gallery is a contemporary art gallery in Dubai with a focus on platforming and representing artists of African descent - working from the continent itself or the diaspora. ### It is one of the few African-owned galleries in the UAE, and it has dedicated itself to art that defies conceptions of African-ness. The ethos of the gallery prompts a reevaluation of what African art looks like or what it should convey. By inviting a range of voices and mediums, Efie Gallery dedicates itself to themes that expand African art through identity and personal ethos. The key to this redefining of African art and classic gallery spaces can also be found in the music section at the Efie Gallery. Known as The Rekord Gallery, this section doubles as a Hi-Fi listening room and features a staggering collection of rare vinyl/shellac records from around the world. This permanent record dates back to the 1940s, and in the context of a traditional gallery, it functions as an interactive exhibition that guests can touch, play, and discuss. It's akin to the warmth of hospitality typical in many African homes, where photo albums or music discs are presented as a form of entertainment and conversation starters. As **Kwame Mintah** , one of the co-founders of the gallery, explains, "We want our values to be seen within the gallery. As Africans, one of our biggest values is being accommodating, welcoming, and inviting." ### ### Since its launch, Efie Gallery has hosted exhibitions featuring artists from diverse backgrounds and disciplines. From Mali's **Abdoulaye Konaté** to Ghana's **Yaw Owusu** , the legendary **James Barnor** to **Myles Igwe** and many others. The gallery is also working on a forthcoming exhibition on October 10, featuring, among others, the revered Nigerian artist **Yinka Shonibare** MBE. Below, Kwame tells __OkayAfrica__ how Efie Gallery started, what goes into running an African-owned gallery in an otherwise untapped region, and what the future holds. ### Post-COVID, my family was presented with an investment opportunity called 'African food festival', which piqued our interest. Then we thought, 'How about an all-African festival?' We had this idea of film, photography, fashion, music, and food. Since my brother and I collect original and predominantly African vinyl records, we decided to exhibit our records at the festival. We thought it was artistic, which led to the idea of hosting an art exhibition. We had around 20 artists, and the exhibition theme paired the old with the new in response to the conversation happening around that time about the boom in African art. It was a portraiture-heavy exhibition, mainly featuring young artists. We managed to secure **El Anatsui** , and we had young artists like Yaw Owusu and **Slawn**. The exhibition was so well-received that, after the three-day festival, we were asked to extend just the art component for an additional three weeks. We looked at the African art scene in the Middle East and noticed that it was scarce, so this was the perfect opportunity to bring African art here because in the West, there's a need to deconstruct narratives. Now, we were presented with a blank canvas. Our only thought was to construct; there was no need to deconstruct or reconstruct. We wanted to widen the question of what African art is. African artists should be afforded a playing field where they can be as audacious as they like. So we diversified our roster. There's no typical Efie Gallery work. We aim to have such a diverse range of African artists that one day, you can come to the gallery and say, 'I absolutely hated this exhibition and this isn't art,' and the next month, you can come and say, 'This is the best show ever.' And in that moment, you can't say whether you hate or you love African art because you realize African art is as expansive as anything. It's essentially about trying to break the mindset of what African art is. So, in an ideal situation, other than quality, there shouldn't be a way to signify. We also decided to make it a cross-cultural bridge between the Middle East and Africa. It was essential for us to be part of that growth in the region at the foundational level, so that in 10 years, we're not an African gallery trying to emulate what's already happening. ### ### Alongside the gallery, we operate The Rekord gallery, a space that showcases rare and important vinyl records, predominantly from Africa but also from around the world. We realized that if we were going to be an African gallery, we wanted to innovate on what a gallery can do. When you come to a gallery, how you interact with the space, and how you perceive it. We want to be part of that innovation, where in 20 years, the reference point or the source of inspiration for other record galleries can be an African gallery. When you enter a major gallery, you feel as if you can't touch anything, you can't speak to anyone, and you have to be quiet. You have to be almost there for 15 minutes at most, and then you go, and you don't even know if you're allowed to be there. However, as an African gallery, we want our values to be reflected within the gallery, particularly as it relates to Africans. One of our biggest values is being accommodating, welcoming, and inviting. The Rekord Gallery is a place that actually produces conversation. When you enter the music room, you will likely see a record from your childhood or hear a song that reminds you of something, and you can sit and talk about it. You don't feel like you're not meant to be there. With two distinct spaces, we can maintain an elevated approach that showcases the value of our artists, while also providing an accommodating space that reflects our values as a people. The main challenge in running the gallery is probably constructing a narrative. You never know if you're right. Which is perhaps why we opted for a broad spectrum approach, where there is no right or wrong. We host five shows a year and officially represent nine artists. It's hard to fully honor your artists because the space limits you. For example, if an artist you represent has a show that doesn't perform as well financially as it should. I think our current trajectory is quite strong. Ultimately, we aim to see African artists recognized in the canon, with a focus on both the continent and its diaspora. We have collectors from Sudan, Ghana, Nigeria, France, Japan, Atlanta, and Lebanon - a diverse mix. ### ### Meanwhile, the gallery primarily attracts a much younger crowd, aged 20 to 30, mainly due to the Rekord Gallery. We also host a library residency named Bootleg Griot, which features three young Nigerians who run a roving library focused on African literature, and they have a brilliant crowd. The Rekord Gallery also operates as a cafe because we want people to stay. We don't want people to just come in for 10 minutes and leave, but we want them to be there for the whole day. So on a random day, you're more likely to see the younger crowd than our actual collectors. We have also recently renovated the Rekord Gallery to feature film projections. For the summer, we hosted a Friday film program, where we showed a film for free every Friday. And they were films by African filmmakers. Even though we're a gallery, we wanted to find a way to bridge cultural gaps. In the near future, we're planning to host a film festival featuring more arthouse African films. We also have another project coming up, where we plan to showcase limited-edition vinyls featuring conversations with some of our older artists. We are exploring different ways to engage and make the space enjoyable for people.

____Every day,_OkayAfrica_ shares a roundup of news we’re following but haven’t published as full articles. These short updates cover what’s happening on the continent — in culture, politics, and beyond. For more on stories like these, be sure to check out our News page, with stories from across the regions. ### Kenyan Activist Boniface Mwangi Launches 2027 Presidential Bid Kenyan activist **Boniface Mwangi** , a leading voice in anti-government protests, has announced his intention to run for president in the 2027 elections. Mwangi, known for his outspoken stance against corruption and human rights abuses, said Kenya’s leadership has failed its citizens, adding that young people must seize the chance to take the country “back into our hands.” His bid comes after years of protest movements that have galvanized frustrated youth across the country. This is not Mwangi’s first foray into politics; he unsuccessfully ran for parliament in 2017. His activism has brought both acclaim and clashes with authorities, including charges in July over alleged possession of teargas canisters and a rifle round, which he denies. Mwangi joins a crowded field that includes Senator **Okiya Omtatah** , former Chief Justice **David Maraga** , and incumbent President **William Ruto** , who is seeking re-election. Whether Mwangi can turn his street-level popularity into an electoral breakthrough remains to be seen. ### Morocco Ends Senegal’s Title Defense, Will Face Madagascar in CHAN Final Morocco knocked out holders Senegal in the African Nations Championship (CHAN) semi-final with a 5-3 penalty win after a tense 1-1 draw in Kampala today, Wednesday, August 27. The Atlas Lions, who have already lifted the trophy twice, showed composure from the spot as Senegal captain **Seyni Ndiaye** missed his opening kick. Coach **Tarik Sektioui** praised his players’ mentality, while Senegal’s **Souleymane Diallo** said his young side’s performance gave him hope for the future. Morocco now heads to Nairobi’s Moi Sports Centre Kasarani for Saturday’s final against surprise contenders Madagascar, who beat Sudan earlier today to book their first-ever CHAN final. For Senegal, the dream of back-to-back titles is over, but they will meet Sudan in Dar es Salaam for the third-place playoff. A Moroccan win would give them a record-tying third CHAN crown in just six years, cementing their dominance in the tournament’s recent history. ### DRC and M23 Rebels Resume Peace Talks in Qatar The Democratic Republic of Congo and the M23 rebels have resumed peace talks in Doha, with mediators pushing both sides to commit to a Qatari-brokered truce signed last month. Despite that deal — and an earlier one in Washington between Kinshasa and Kigali — fighting has continued in North and South Kivu, where M23 rebel advances this year have left bodies in the streets and forced millions from their homes. Qatar has presented a draft proposal for a three-phase peace plan, which includes a mechanism to monitor the ceasefire and facilitate the exchange of prisoners, with support from the U.S. and the International Committee of the Red Cross. But reports suggest Congolese President **Félix Tshisekedi** is dissatisfied with the text, while Kinshasa and M23 continue to accuse each other of breaking the truce. With more than 7 million displaced, the U.N. has called Congo’s conflict one of the world’s most severe humanitarian crises. ### Report: Most Crimes Against South African Women Committed by People They Know More than 60% of crimes against women in South Africa are carried out by people they know, including spouses, relatives, friends, and acquaintances, according to Stats SA’s latest victim crime report. Released yesterday, Tuesday, August 26, in Pretoria, the 2024/2025 findings show women face the highest risk of violence in spaces where they should feel safe, while men are more likely to be attacked by strangers. The report also highlighted that knives were the most common weapon used in assaults on women, followed by firearms, underscoring ongoing concerns about gender-based violence in the country. ### Nigeria Halts Shea Nut Exports to Boost Local Processing Nigeria has banned the export of raw shea nuts for six months in a bid to grow its share of the $6.5 billion global shea industry. Despite producing 40% of the world’s shea crop, the country only earns about $65 million a year from exports, largely because the nuts are shipped raw instead of processed into shea butter used in food, cosmetics, and pharmaceuticals. Vice President **Kashim Shettima** said the pause will help Nigeria move up the value chain, targeting $300 million in annual earnings while creating jobs and empowering rural women who dominate the harvest. Farmers and experts welcomed the decision but stressed it must be paired with better regulation to stop exploitation and ensure small-scale producers benefit. ### Senegal’s Faye Meets Macron to Reset Ties After Troop Withdrawal Senegalese President **Bassirou Diomaye Faye** met French President **Emmanuel Macron** in Paris today, Wednesday, August 27, marking his first official visit to France since ordering the withdrawal of French troops last year. The talks focused on resetting relations after the end of six decades of French military presence in Senegal, with both sides stressing that security cooperation will continue. Faye is also pushing Paris to apologize and release archives on the 1944 massacre of Senegalese soldiers by French troops, saying such recognition is key to building a more balanced relationship. Beyond historical grievances, the two leaders discussed cooperation on sustainable development, education, and healthcare, while Faye pre ### Over 50 Candidates Submit Bids for Côte d’Ivoire’s 2027 Election Côte d’Ivoire’s electoral commission closed submissions today, Wednesday, August 27, with more than 50 hopefuls filing to run in the October 25 presidential election, including incumbent **Alassane Ouattara** , former Prime Minister **Pascal Affi N’Guessan** , and ex-First Lady **Simone Gbagbo**. The PDCI backed **Tidjane Thiam** while the PPA-CI filed for former president **Laurent Gbagbo** , despite both names being excluded from the official voter list in June. Independent candidates such as **Antoine Tiémoko Assalé** and **Vincent Toh Bi-Irié** also joined the crowded field. The Constitutional Council now has until September 10 to decide who qualifies, with **Guillaume Soro** and **Charles Blé Goudé** already ruled out due to prior convictions. ### Kiir Faces Nepotism Claims After Daughter’s Appointment South Sudan’s President **Salva Kiir** is under fire for appointing his daughter, **Adut Salva Kiir** , as Senior Presidential Envoy for Special Programmes, a role once held by the current vice president. Critics say the move signals Kiir’s attempt to build a political dynasty, as Adut has no prior government experience and comes from a background in humanitarian work. Civil society groups have urged her to act in the public interest, while analysts warn the appointment reflects “inheritance governance,” where power is concentrated within a ruling family. ### Rising Seas Wipe Out Lagos Village as Residents Say Commonwealth Pledge Failed An ocean surge has destroyed homes, boats, and graves in Apakin, one of Lagos’ last indigenous fishing villages, leaving its 3,000 residents fearing they will lose their ancestral land entirely. The centuries-old community says promises made under the 2022 Commonwealth “Living Lands Charter” have brought no real protection, while government-backed projects like deep-sea ports and the Dangote refinery are worsening erosion. Nearly 80% of Lagos’ shoreline has already vanished over the past five decades, and with each surge, locals say their heritage is being swallowed by the sea. ### IMF Says Waiver on Senegal Debt Case Still Weeks Away The IMF says it will take several more weeks before its board can review Senegal’s $11 billion debt misreporting case, delaying a waiver that is crucial for the country to secure new financing. The Fund froze Senegal’s $1.9 billion lending program last year after hidden debts were revealed, and ongoing talks focus on corrective measures and reforms. Prime Minister Ousmane Sonko has rolled out a new recovery plan relying mostly on domestic resources, but without IMF approval, Senegal could face repayment demands and deeper financial strain. ### Qatari Firm Pledges $20 Billion Investment in Mozambique Qatar’s Al Mansour Holding has signed a $20 billion deal with Mozambique to fund energy, agriculture, and other priority sectors, President **Daniel Chapo** ’s office announced. The move is part of a wider push by Middle Eastern investors to expand across Africa, with the firm recently pledging nearly $40 billion in Zambia, Botswana, and the DRC. Led by Sheikh **Mansour bin Jabor bin Jassim Al Thani** , Al Mansour Holding says its focus is long-term development, not competition, as Africa’s vast land, natural resources, and critical minerals draw global interest from powers including China and the U.S. ### Zimbabwe to Redesign Struggling Currency Notes Zimbabwe’s Reserve Bank says it will roll out newly designed ZWG notes, replacing the current version of the currency that has already lost 43% of its value since being introduced in April 2024. Governor **John Mushayavanhu** said the redesign is aimed at improving durability and quality, not introducing a new currency, but critics argue it’s a tactic to quietly dump the failed first edition. The ZWG, meant to be gold-backed, remains scarce in rural areas where many rely on the South African Rand, and analysts warn that vague policy announcements without details risk fueling more market instability.

It’s been a vibrant month for East African music, with heavyweights making bold moves and rising stars cementing their place in the spotlight. From Tanzanian icons experimenting with new sounds to Kenyan trailblazers dominating the charts — plus fresh voices out of Uganda, Rwanda, and Ethiopia — here are the standout tracks defining East Africa’s soundscape right now. Read ahead to get all the latest and best East African music drops from the likes of **Okello Max, Nati Ker, Nyashinski, Zuchu,** and many more. ### Nati Ker - Neger Neger | ነገር ነገር (Ethiopia) After a breakthrough year in 2024, rising Ethiopian star **Nati Ker** kicks off 2025 with “Neger Neger.” With this release, he proves that last year’s momentum was no fluke. He’s here to solidify his place in Ethiopia’s next wave of stars. ### Omega 256 X Cindy Sanyu - “See You Tonight” (Uganda) Two powerhouse Ugandan songstresses, **Omega 256** and **Cindy Sanyu** , team up on “See You Tonight,” a sultry dance anthem that’s built for the floor. The track blends Omega’s smooth, melodic delivery with Cindy’s powerhouse vocals, creating an irresistible fusion of groove and charisma. ### Okello Max – “Taya” (Kenya) **Okello Max** returns after a three-year hiatus with “Taya,” a kompa-inspired, sensual standout from his new album __HEALING__. Since its release in late July, the track has already amassed over 2.7 million views on YouTube, resonating with fans through its smooth fusion of East African soul and Haitian dance rhythms. “Taya,” meaning “light” or “lamp” in the Luo language, is both a tender love song and a spiritual balm, capturing the album’s overarching theme of emotional restoration. ### Zuchu – “Amanda” (Tanzania) After a relatively quiet year, Tanzanian pop star **Zuchu** returns with “Amanda,” a bold stylistic shift that sees her blending confident English bars with her signature Kiswahili flair. In this fiery heartbreak anthem, Zuchu bares her soul as she confronts betrayal, late-night phone calls, and the ghost of the other woman — Amanda. ### Toxic Lyrikali – “BUD FLOWERS” (Kenya) **Toxic Lyrikali** , one of Kenya’s most-streamed voices, is back with “BUD FLOWERS,” a brooding, poetic track that blends his raw lyricism with drill influences. Known for his no-miss streak in 2025, Toxic trades dancehall swagger for introspection here, delivering verses about survival, pain, and quiet transformation. The song struck a chord instantly, crossing the 1 million view mark in less than a week. ### Nel Ngabo & Platini P - “HOZA” (Rwanda) Rwandan hitmakers **Nel Ngabo** and**Platini P** join forces for “HOZA,” the first single off their upcoming joint album __Vibranium__. Both artists have been steadily building solo careers in Rwanda’s vibrant music scene, but “HOZA” marks a new chapter ### Nyashinski – “TAI CHI” (Kenya) Kenyan rap heavyweight **Nyashinski** kicks off a new chapter with “TAI CHI,” his first release since signing with Sony Music East Africa. After years as a fiercely independent artist, this move marks a significant pivot in his career. On “TAI CHI,” Nyashinski flexes lyrical dexterity with precision, delivering clever bars and self-assured flows over a slick, minimalist beat. “Paperwork done... Excited about the next chapter!” he wrote on Instagram, signaling a bold new era that’s already generating buzz.

Nearly a month after its declaration as the newest federal member state in Somalia, the process of forming a government for the Northeastern State is humming along rather smoothly. Late last week, **Adam Abdullahi Aw Hassan** was elected as the Speaker of the new state’s parliament, in a decisive win that saw 82 of the 83 parliamentarians participate in the vote. ### Hassan will now undertake the task of integrating the new state’s institutions into the federal system, a task that’s much, much easier said than done. Somalia’s federation-based government style, where state governments work in tandem with a central government, has been beset by a myriad of issues, including a lack of clarity about the delineation of responsibilities and constant power tussles rooted in decades of civil war, which can also be traced further back to pre-colonial, tribe-based biases. The Northeastern State is now the sixth member state of Somalia’s federal government, following a breakaway from the self-declared, independent state of Somaliland. In early 2023, fighting broke out between the Somaliland army and forces allied with the Dhulbahante sub-clan for control of Las Anod, with the latter stating its preference to be part of the Somalian federation, rather than being governed by Somaliland. As with most disputes related to borders and tribes, a defining element is colonialism. Somalia gained independence in 1960 with the merging of two territories in the Horn of Africa, the larger part under Italian colonial rule and the smaller part a British protectorate. Following a coup led by long-time dictator **Siad Barre** , Somalia was an autocratic state until a rebellion overthrew Barre’s regime in 1991. The rebellion was composed of multiple opposition forces; however, its success created a power vacuum that led to a civil war. ### Meanwhile, Somaliland declared its independence following the collapse of Barre’s dictatorship. For a few years prior, it sought secession from Somalia in an armed struggle that led to the deaths of tens of thousands in what is now known as the Isaaq genocide. Somaliland’s independence push was based on the argument that it was a former British colony and reserved the right to back out of the merger with the former Italian colony. The quest also came at a time when Barre’s dictatorial rule had grown more repressive, and Somalia’s economy was in decline. Somaliland’s colonial-era boundaries included the Sool region, where the majority of its population belongs to the Dhulbahante sub-clan, which is part of the Darod clan. After years of dissatisfaction with involvement in national politics and latent disinterest in the breakaway state, citing Somaliland as largely serving the interests of the Isaaq clan, protests led to the Dhulbahante declaring itself to be part of Somalia’s federation. The Northeastern state includes parts of the Sool, Sanaag, and Todgheer regions, previously known as SSC-Khatumo, as well as the Maakhir state area, and is now “fully backed by the federal government of Somalia,” according to Mogadishu-based cultural commentator **Ali Ahmed**. “The federal government is fully supporting with the necessities for the running of the state government.” Speaking during the declaration in Las Anod, interior affairs minister **Ali Yusuf Hosh** stated that the federal government is “stepping up support designed to meet critical community needs and reinforce the operational capabilities of the nascent regional authority,” while emphasizing the importance of a shared approach under the federation system. ### ### However, not all the involved parties in Somalia are pleased with the new federal state. Puntland, the oldest federal member state, has claimed the SSC-Khatumo region as part of its territory, citing the Darod clan kinship with the Dhulbahante. The Puntland government has also accused the Somalian federal government of creating the state as a way to sow division in service of its own agenda. The relationship between the federal government and the Puntland government has been incredibly fraught over the years, with both sides fighting for power over who controls the oil-rich region’s resources, as well as divisions over the country’s political future. “After the lawlessness of the civil war and all the negotiations, you can understand the institutions are very weak and we are operating almost like a toddler because the federal member states do not know what they are required of,” Ahmed tells __OkayAfrica__ , shedding light on the fragility and opaqueness of Somalia’s government system. “They are seeing themselves as full governments and not members of a federal government, but what is supposed to happen is, whatever they do as a local state government should be in cooperation with the federal government of Somalia.” ### Earlier this year, Puntland allied with Jubaland, another federal state, to oppose electoral reforms being proposed by Somali President **Hassan Sheikh Mohamud**. Before the alliance, both states had cold relations, after Jubaland backed out of supporting Puntland state president **Said Abdullahi Deni** ’s bid for the federal presidency. Both states are now allied, after Jubland president **Ahmed Mohamed Islam** opposed a federal proposal to extend the tenure of federal member state administrations, which clashed with Islam’s plan to seek a third term in office. Puntland and Jubaland boycotted the National Consultative Council (NCC) summit last month, where the Northeastern State was made official. It was also at the summit that attendees signed an agreement calling for enhanced collaboration between federal states and the country’s electoral commission, in order to accelerate voter registration. However, without Puntland and Jubaland, the lack of a unanimous stance risks escalating tensions. Both disagreeing states have united in opposing President Mohamud’s push for a One Person, One Vote (1P1V) system, a stance that has renewed the spotlight on the country’s complex political system. While critics of the proposed reform say it’s the president’s attempt at consolidating power, many Somalians are in favor of directly voting in their leaders, rather than the indirect system that’s currently in place. “The citizens are fed up with living under anarchy for long, and many would want to have an electoral system where it’s one person, one vote, but the path for that is unrealistic,” Ahmed says. “Members of parliament are selected through the council of elders, and they then elect the president.” ### ### Somalia’s last direct vote took place in 1969, and after decades of war and arguments following Barre’s death, it settled on the 4.5 system. In this system, an equal number of seats in parliament is allocated to the four main clan families — Darod, Dir, Hawiye, and Digil-Mirifle. Half the number of seats is allocated to the Bantu, Benadiri, and other minority clans. Clan leaders choose representatives who choose members of parliament; these chosen lawmakers then vote to elect the president. This complex system, which only takes into account Somalia’s elite, has repeatedly shown cracks in the lukewarm association between federal states and the federal government. It’s also tied to the constitutional inadequacies related to “the architecture of the federation, which is still undefined,” according to Horn of Africa expert **Matthew Bryden**. Somalia’s electoral and political system will continue to come under scrutiny by many Somalian citizens, but Ahmed cites the country’s decades-long instability and the federal government’s limited security reach as hindrances to any radical reforms. “Most parts of Somalia are not secured by the federal government, so it’s not able to have control of all its regions, so we’re all still waiting.”

**Amapiano** continues to move at the speed of culture, where new anthems surface every week and moments from TikTok and Instagram evolve into fully fledged soundtracks. The latest wave of releases highlights the depth and variety within the scene, from tributes to South Africa’s house lineage to forward-thinking experiments that stretch the boundaries of rhythm and sound. These tracks show why the genre refuses to slow down and why its producers and vocalists remain so deeply plugged into the country’s pulse. This month also brings the return of the**Scorpion Kings** show, with **Kabza De Small** and **DJ Maphorisa** pulling together an impressive lineup of collaborators and friends. Expect high energy, layered log drums, and the type of communal vibe that has made their concerts a cornerstone of the live Amapiano calendar. With artists like **Xduppy** , **Mellow & Sleazy**, **Aymos** , and **Nkosazana Daughter** in the mix, the night promises to be both a celebration of what amapiano has achieved and a glimpse into where it is headed next. ### Khadeair, Dankie Zbiya - “Ke Nako” (feat. Ntate Stunna, Tribby Wa Di Bhozza) “Ke Nako,” meaning __‘it’s time,’__ is an amapiano-centric interpolation of **Bujo Mujo** ’s classic “Shiwelele.” In reimagining one of the defining songs of South Africa’s mid-to-late 2000s house era, the track bridges generations of sound with sentimental abundance. It connects the past with a future by harnessing the vibrations of the present, and honors the lineage that made them possible. The song transforms a familiar refrain into a fresh anthem that extends the life of a modern-day classic. ### M00tion - “Brii Bass” **M00tion** ’s understanding of rhythm is understated yet undeniable. He takes the ‘Quantum Sound’ pioneered by producers like **Xduppy**, pushes it a notch higher, and infuses it with a distinct Eastern Cape flavor that swings harder and moves faster than most of his contemporaries. The result is a sound rooted in amapiano’s pulse but constantly shifting into new, high-velocity patterns that demand attention on the dance floor. “Brii Bass” sits somewhere between the free-spirited nature of Bacardi and the downright funky, bare-bones sound of early kwaito. ### Xduppy, Seun1401, DJ Maphorisa, LastBornDiroba, DJ Njabsta, Mellow & Sleazy, Blacko SA, Scotts Maphuma - “Hao Khonagale” **DJ Maphorisa** ’s had epic crash outs on his Instagram Live that have outlived their moment and calcified into fragments of culture. “Hao Khonagale” is a phrase lifted from one such session, during his very public fallout with **Samthing Soweto**. He’s since flipped that raw, unfiltered moment into a track, proving that spectacle, in the hands of someone who’s capable, can be transformed into vibrant sound. Backed by a cast of heavy-hitters, from **Xduppy**, **Mellow & Sleazy**, **Scotts Maphuma** , and more, the song expands beyond its meme origins, reasserting Maphorisa’s knack for pulling together the right collaborators to turn a personal episode into a cultural moment. ### Aymos feat. Mas Musiq & Lawd Weezy- “Maspala Bomdantso” **Aymos** is one of the strongest songwriters to grace South Africa’s dance music landscape. His pen carried the collective conscience through the stillness of hard lockdown, with collaborations alongside **Mas Musiq** and **Kabza De Small** offering both comfort and release when it was needed most. On “Maspala Bomdantso,” he remains resolute in that gift; his voice and lyrics are a compass that points to the true North, while the production keeps feet shuffling and spirits lifted on the dance floor. Aymos is a songwriter whose work continues to shape the genre’s emotional core. ### Mluusician, Ricky Lenyora, DJ Maphorisa - ”Malacosta” (feat. Vulela Maweekend, Mark Khoza & Angekebabuye MC) “Malacosta” is one of those amapiano cuts that doesn’t just play in the background but floods the room, injecting the party spirit straight into your veins. The bassline creeps in with intent, the log drum hits like a jolt of high-voltage electricity, and before long, the track has taken command of bodies on the dance floor. It’s less a song than it is a trigger, engineered to flip any gathering into a celebration. ### DJ Tshegu, Focalistic, Ch’cco, Nkosazana Daughter - “Basela” (feat. Ceehle & Sims Noreng) **DJ Tshegu** returns with “Basela,” a dance floor-ready amapiano cut featuring **Ceehle** and **Sims Noreng** alongside heavy-hitters **Focalistic**, **Ch’cco** , and **Nkosazana Daughter**. Driven by pulsing log drums and vocal textures that resonate from the streets to the VIP, the track distills the hypnotic, explosive energy DJ Tshegu is known for and pushes it straight through the monitors. It marks another powerful entry in her fast-growing catalogue, cementing her place in the new wave of selectors shaping Amapiano’s future.