After a two year hiatus, GUAP Magazine catches up with Ama to discuss the freedom of being seen, the pressure of a sophomore album, and why AMA felt like the only name this record could have.

The London-raised singer-songwriter returns after a two-year hiatus with a record that feels less like a follow-up and more like a reintroduction. Formerly known as Ama Lou, AMA sees her step into a more exposed and immediate creative space, trading cryptic lyricism and character-building for honesty, restraint and self-revelation. Featuring collaborations with Bryson Tiller and Brent Faiyaz, the album explores confidence, desire and womanhood through minimalist production, layered harmonies and honeyed vocals.

With AMA out now, a support slot on Ella Mai’s North American tour this summer, and her creative world expanding beyond music through ventures like her recent Salomon collaboration, Ama enters this new chapter with plenty ahead of her. GUAP catches up with the singer-songwriter to discuss reinvention, womanhood, vocal restraint and the freedom that comes with finally being seen.

Ama ! The music world has missed you. You’re returning with this beautiful self titled sophomore album, AMA. This album is candid in lyricism, some standout tracks being ‘I’d Do Tt All Again’, and ‘Life’s Better’. Where are you in the world right now ?

I’m in LA !

There’s been a bit of a hiatus. You’ve said the version of yourself that made “I Came Home Late”doesn’t really exist anymore - I’m curious - what changed in you to bring you to AMA?”

I Came Home Late two years ago, I’ve changed a lot. I’ve realised a lot since then and had changes in my career and personal life, so that was a closing of a chapter. I spent the next year not having a lot of pressure on myself,and I wanted to make music fun again - I’ve been writing since I was eleven, so I think I lost my purpose in music a little bit. In 2024 I took the pressure off of things - I wanted to make music for the sake of making music and for it to be fun again, it’s always been my salvation and in any mood I’ve ever been in I can’t help but write.

When I started making this album I felt a writer’s block which was weird because I never had that before and I feel like the only time I’d had it before , and the only thing that relieved it was being 100% honest in the writing and showing up as the most simple version of myself. With I Came Home Late , it was very authentic but I think I used character building as a little bit of a shield, but I definitely wasn’t hiding around cryptic lyrics and intense production this time around.

Everything on the album includes things I would actually say or do - if you ask me about the songs I can tell you an anecdote, or story, or line, that connects to my daily life. That’s why I wanted to change my name, because I’ve always been known as Ama, that’s what the people in my life know about.

There is definitely this talk of the pressure that surrounds sophomore albums. They say your first album is your whole life. How did you deal with that weight at all stepping into this project ?

I felt way more pressure before, especially in the beginning of my career - a lot of my potential was spoken about.This project was about simplifying things and showing up as myself. I feel like a lot of people show up as themselves in the beginning of their career and then change and reinvent themselves as they move along.

How could I put pressure on something I can’t change?

I’m, showing up as myself on this album, so I didn’t feel any external pressure because I feel like a different person to who I was when I made I Came Home Late - I didn’t feel too much pressure this time around

You left London just days after finishing school for NYC, and then came back after releasing your firstfew EPs. I came home late really leaned into those themes of home, and in return - what does home and location mean to you now in this album cycle ?

The concept of home has been important to me and been a very big theme in my life, whether having one or not having one, or feeling suffocated by the things that you used to consider home, expectations and disappointments - I’ve done a lot of work from releasing myself from any physical parameters that create home.

I love LA, when I first came here it felt like coming back here from a past life . It suits my lifestyle, I like to wake up with trees and isolate and be near the sea and the sun everyday, but I think that maybe in this album I have come away from a lot of the external validation, not necessarily to do with people, but this album is centred around me which I haven’t done before. I think the sense of home I relate to is bringing things back to myself and knowing that home is wherever I am, in the least cheesy way possible.

I know ‘Ride or Die’ was inspired by someone not understanding the intensity of how you commit to someone. Creating an album needs commitment. How intense did it get when committing yourself to making this album?

I’m not an intense person, and I wouldn’t call myself possessive. I think I have a depth of caring about things and people quite deeply but live outside of myself. Similarly, when I’m creating a project, it’s never driven by ego.

I always love working with people who understand that when we’re creating music, we do what’s best for the project. Obviously I fight for people to get the flowers and give credit where it’s due, but in terms of the creative process, it’s important everyone puts aside their ego and do what’s best for the project, rather than implementing an opinion just because it’s yours.

Ride Or Die looks at feeling alone in being disappointed throughout life and not being met in the way that you care about the things that you do. I think that people who are like that can feel a little bit alone.

One thing that stands out in this album is a sense of vocal restraint - it sounds like you know your voice and what suits you best vocally. I know voices like Brandy’s are inspirational to you, what drew you to embrace this restraint sonically?

I think that less is more sometimes, with the last album I felt like I had something to prove but that process is very intense. Every single song from that album, you could split up and make an album from it alone. I didn’t feel the need to have a lot of fluff around it, I worked with some amazing producers who I trusted sonically, and I think I wasn’t so controlling, I was happy to take away the adlibs, reduce the stacks, and every time I felt overwhelmed I wasn’t afraid to take things away that could distract from the core reason of the song I had written. I didn’t want to hide anymore.

When involving others into your world in the production side of things, how much of yourself do you have to let them see ?

I work with a lot of people who are pure music lovers, and in the game for the same reasons that I’m in the game - the people I’m working with I trust 100%. It’s like picking friends, the people you surround yourself with should never be accidental. It came together very naturally, at one point two producers that had never worked before but I had known each of them separately started working together, we all just got along really well. I don’t ever feel like the people I’m working with are stepping on my toes, and I do all my own writing - I feel like the producers I work with respect me for that as I respect them for what they do as well. Everyone showed up and was excited to work on the project, it was an easy process.

This project feels like it explores different facets of womanhood closer than your previous work. ‘Need It Bad’ with Brent Faiyaz has been received very well - what made you ready to explore that side of your artistry ?

The last project took twice as long as it should have taken to make, so I’m quite constipated with songs about my evolution and growing as a person and I wanted to show how I speak with my friends. It’s one of the choices I’ve made as an artist, and loving being a woman I wanted to show up in that honest way. Brent approached me with the song and I wanted to match the vibe.

We know his sonic reputation and it was something I’d never done before but it was a great experience, and I went in and matched myself to the scenario and what I would say

Where in the process did you realise this was a self titled album ?

Before I was with the team I have now, when I first started this album it was self-titled. I don’t remember who I told that it would be self-titled but I was told it wasn’t a great idea - I had another name for it for ages and my team approached me with the idea of it being self-titled. I started laughing when they said that because it was self titled when I started writing it, unbeknownst to them. I never told anyone it was originally self titled but it’s meant to be.

‘SO’ is written from the perspective of a man. When it comes to your writing process, do you feel more comfortable to step outside of yourself to tell stories or to tell them as yourself, as AMA ?

I wrote that song for another male artist a couple of years ago. The artist didn’t end up using it so I asked for it back and changed the chorus, realising it was written from a man’s perspective, but authentically. It came from real conversations that I’ve absorbed and put myself in people’s shoes. I realised there was something cool about a woman writing from a man’s perspective but also not being so satirical because it was intended to be sung by a man. I wanted to be a songwriter first, at the age of eleven, and I feel I’ve always had the ability to absorb other people’s lives and regurgitate it into music without any bias.

We’ve talked about how this project feels very detail-led and intimate in its production - how do you take something designed for headphones and reimagine it for a live space?

I realised I can’t sing ‘So’ in the key it’s in but I wouldn’t change it because the song needs depth. I always want to give people the experience that they are craving as a music lover. When you have a song you love so much you want to hear it in that form, or elevated. With my shows I like to build them in a way that I would want to listen to the music. If I was a person that loved this song the way I love other songs, how would I want to hear it after waiting to hear it? What would surprise me? That’s a question I ask myself. I care about the listener’s experience, because when you release music, it’s not yours anymore and it’s interpreted through the people that are ingesting it through their life experience, and you have to honour that. That is part of the process, and the reason you’ve risen to the place that you are. Honoring collective experiences is the beauty of it, and it doesn’t take away from your creation, it only adds to it and makes things complex and fun and adaptable.

The live aspect of being a musician is so interesting to me, I love it. If someone really listens to this album, would you feel like it explains you fully, or would you still feel a little misunderstood if the album was the only thing they knew you by ? I was talking to someone the other day and they told me they were annoyed when I was misunderstood. It’s never bothered me, but you can’t care about being misunderstood unless it’s by the people in your life, that can feel alienating. From my own experience I don’t mind being understood because it gives me the chance to bring something else out that I haven’t brought out before. My life has been pretty complex and I don’t take it as an insult, but understand that not everyone always has the capacity to understand in the moment, and it won’t dissuade me from doing what I do.

In honour of my favourite track - I’ll do it all again’ - would you do it all again to get to this point? All the way from 12 year old Ama with a guitar and piano - to on the cuff of releasing your self titled sophomore?

100%, I have no regrets. I am really grateful for my life, every single day. I like the person that I am and I ‘m proud of the person that I am. If any single thing in my life would be different, I wouldn’t be who I am today. I would do it all again - that song was the first song I wrote after the hiatus after my last album. I lost a lot of faith in the universe and the pursuit of being an artist. A lot of things became heavy and realistic and stoic, which is not typically how I am. The song is a conversation between the universe and I, personified as God so it was easilyunderstood. If you’re still here, you have another day, and you can’t regret things. You can always apologise or say thank you, or revisit a dream or idea. It’s never too late to just try.

Get 30 days free to watch MY FATHER’S SHADOW and more at mubi.com/guapmag

Honestly, this feels like one of those stories everyone should experience at least once in their lifetime. Not because it insists upon its importance, but because it understands something profoundly human - the fragile, beautiful weight of being alive, of loving, of remembering.

Directed by BAFTA-winning filmmaker Akinola Davies Jr., My Father’s Shadow follows a father and his two sons across a single day in Lagos during the political unrest of 1993 Nigeria. What unfolds is a poetic and emotionally layered story about fatherhood, masculinity, memory, absence and the things families often leave unsaid.

What makes the film so powerful is its honesty.

The small moments. The silences. The tension between love and responsibility. The feeling of trying to understand someone whilst slowly realising they are carrying struggles you cannot fully see yet.

Led by an incredible performance from Ṣọpẹ́ Dìrísù and shot beautifully on 16mm, the film captures Nigeria in a way that feels textured, intimate and alive. Lagos doesn’t just feel like a backdrop, it feels like its own character.

There’s also something deeply special about seeing African stories told with this level of care, softness and cinematic beauty.

At its core, this is a film about connection. About fathers trying their best. About sons trying to understand them. About memory, grief and the complicated ways love can exist inside families. It’s tender without feeling forced. Emotional without becoming dramatic. And visually, it’s one of the most beautiful films we’ve seen in a long time.

Watch My Father’s Shadow now on MUBI.

Get 30 days free at mubi.com/guapmag

GUAP

Your music carries a raw honesty that people deeply connect with. Where did that approach to vulnerability come from in your own life?

It came from Faith, there is a famous quote. Come as you are, to life as it is. My approach stems from realizing that being myself is the most powerful thing I can do. Especially as an artist I’ve found sincerity is the strongest tool I’ve got. The more honest you are in what you’re expressing , the more people feel it. 

Black artistry is at the centre of this new edition of Levi's® In Session films. How do you see your work contributing to that wider narrative, both musically and spiritually?

I'm  honored to be amongst them. For me, I look at my work as a contribution towards showcasing the beauty in life despite the hardships. And themes such as resistance and faith, I believe are deeply tied into my values as a black artist. Also the fact I have walked this path as a child of the diaspora I believe paves the way for others to know it is possible too. Kind of like the 4 minute mile!

So much of your artistry explores identity, home, and emotional truth. How have your early experiences shaped the artist you are today?

Growing up in London and figuring out who I was in all that noise was an intense journey. Never feeling as though I truly fitted in! I was soft hearted but grew up in a rough environment so very early on I knew I needed to know how to stand up for myself. Then in my later teenage years I connected to faith deeply and began studying Islam, this is where I found so much of my core values.  Throughout my life I've experienced such a desire to grow beyond the road map life had set out for me so from 19-20 I began travelling. Visiting countries like Malaysia, and experiencing new cultures blew my mind open.

Your music blends tradition, modern soul, and personal reflection. How do you keep your heritage alive while evolving into new sonic worlds?

The way I keep my heritage alive is through my core values. There is a prophetic saying that the best of mankind are those who benefit mankind. I always ask myself in every song I've ever written and every piece I ever make, is this of a benefit to somebody in some way, form, or shape? And as long as it meets that line of being of benefit, the rest is open for discussion! I still want to be as dynamic as possible as an artist. I'm excited to explore different emotions and find a way to communicate them in a way that can feel helpful to somebody.

Levi’s® celebrates changemakers and those pushing for progress. What moment in your journey made you realise your voice carried weight?

When I released Ysra. That  record came out right in the middle of Covid someone played it to their dying father, others wrote to me  about their own battles with grief... and it clicked. The pieces of music I had made in isolation weren’t  just my own therapy anymore. It was beneficial to others also beyond me, doing its own work. 

When you meet young people who look up to you, what part of your journey do you feel is most important for them to hear?

I feel the part that is most important to hear is the power of having a dream. I was a delusional Somali kid singing his heart out dreaming one day he would get to be on a stage. No one else around me even studied music, but that dream kept me passionate. Then there were the countless  open mic nights and singing in the street just to get over my nerves and just wanting to be heard. These moments shaped the man and musician I am now and I hope young people make sure they enjoy those early moments.

If someone watches your Levi's® In Session film for the first time, what do you hope they walk away understanding about Facesoul not the artist, but the man?

That despite the difficulties I’ve experienced in life ( as we all have) , I’m still truly grateful to be here at this point in time on earth. I feel blessed by the many hands that have shaped my life and have given me the opportunity to be here. and I am a man that wishes to pay it forward!

There’s a calmness to Kofi Stone that makes you lean in.
He speaks softly, almost like he’s thinking aloud, but the meaning lands with weight. Maybe it’s the Ghanaian poetry in his blood. Maybe it’s the years spent learning himself before the world ever caught up. Or maybe it’s the name the one his grandfather gave him the day he survived the complications that almost stopped everything before it started.

Kofi Ekba. Water Stone. A blessing and a prophecy. A reminder that softness and strength aren’t opposites - they’re a balance. He laughs about it now, turning it into something clean enough to sit on a streaming platform: Kofi Stone. But even in that simplicity, you can feel the story underneath

He grew up surrounded by creativity, but not in the Instagram sense: in the real way. Older cousins who seemed larger than life, Nas CDs stacked like holy texts, Nike fits that felt like armour, that one cousin who was just… cold. As a kid, these things matter. They teach you what’s possible. They show you what cool looks like before you can name it.

And then there was Vice City. One random day, one random mission, one random song on the in-game radio and suddenly, he knew. That’s the funny thing about callings: they don’t whisper, they interrupt. At ten years old, he printed out his own face, slid it into a blank CD case and declared his future. His cousins laughed. He still remembers the sting of it. But he also remembers what came after - the quiet decision to keep going anyway. The tiny seed of delusion that every artist needs. The part of you that says I know they don’t see it yet, but I do.

That delusion carried him from Birmingham bedrooms to stages around the world, while still keeping him slightly outside the noise. He’s never chased the industry: not in London, not anywhere. He’s built in Brum, built in London, then stepped back from both just enough to stay focused. It’s given him a strange kind of dual identity: present but not absorbed, visible but not dependent. An underdog who secretly isn’t one.

He talks about wanting acceptance, but not in the desperate way, more in the human way. Every creative knows that feeling: wanting to be part of the conversation without having to distort yourself to fit in. He’s navigated that tension with patience, letting the music speak and letting time do what time does.

And now, he’s arrived at an album (All The Flowers Have Bloomed) that feels like a full stretch. A loosening. A letting in of light. He describes it like a garden, different flowers, different colours, different shapes of him. The depth is still there; that’s Kofi’s DNA. But there’s a new energy too. The kind that makes you move without thinking. The kind that feels like summer evenings where someone opens the windows and suddenly everyone’s smiling. The kind that suggests he might actually dance on stage this time. He talks about risk like it’s a friend. He talks about fun like he’s reintroducing himself to it. He talks about joy like it’s the point of everything. Maybe it is.

The more he speaks, the more it becomes clear that knowing yourself isn’t just part of his artistry - it is the artistry. “If you don’t know yourself, you end up being someone else,” he says. And he’s right, the world already has enough copies. His work leans into the opposite: a refusal to dilute the parts of him that make the music feel lived-in, human, textured.

"All The Flowers Have Bloomed" shows all of that at once. The introspection for the thinkers. The rhythm for the dancers. The heart for the lovers. The risk for the ones who like change. It’s the most open he’s ever sounded, like he’s pushing the door wider for whoever wants to walk in. When you ask what he hopes people take from it, he doesn’t say legacy or numbers or impact. He just says joy. The simple kind. The real kind. The kind that makes you feel hopeful about your own life, even if you’re not exactly sure why.

In a landscape obsessed with blowing overnight, Kofi Stone is a reminder of the beauty in moving slowly, honestly, intentionally. He is a flower that bloomed in its own season not delayed, not early, just right on time. And now that he’s bloomed, he’s not looking back.

Under the theme “Everything Is a Remix,” we brought together the visionaries, creators, and trailblazers who are redefining what creativity looks like in this generation. From the underground to the global stage, each winner represents a different chapter in the story of where culture is headed next.

New Creative Of The Year supported by asos

Winner: GOODVIBESONLY

Kelechi Okafor is a Black-British public speaker, podcaster, activist, and writer; recently releasing her latest book, Edge of Here.

Cultural Hero Of The Year supported by Whatsapp

Winner: Mamadinya

Mamadinya brings real talk and lived experience to the forefront. Her content centres women’s voices in unapologetic ways, mixing insight, humour and heart to shift narratives and make space for authenticity to flourish.

Artist To Watch supported by Tunecore

Winner: DC3

Six years, 20 team members and over 100 parties later, Recess is now the bedrock of Black London’s nightlife scene, operating out of its HQ in Tottenham. Now operating internationally, the Sonubi brothers, who founded Recess, have found success in New York, Paris and beyond.

Visual Artist of the year

Winner: Teoni

Teoni paints emotion into form. Her visual work often raw, figurative and drenched in feeling —has made her one of the standout new artists repping London’s creative scene. She captures the in-between moments: stillness, softness, self-reflection.

Podcast/Online Show of the Year supported by WordOnTheCurb

Winner: 90'S Baby Podcast

The 90s Baby Podcast resurrects nostalgia with muscle. What began as shared recollections has grown into a platform that interrogates, celebrates and re-voices a generation.

Actor of the year

Winner: Josh Tedeku

Josh Tedeku is a screen presence you’ll remember but more importantly, a storytelling voice you’ll feel. From his breakout in Boarders to the upcoming Supacell, he’s moving with range, purpose and the kind of quiet force that marks a new wave of Black British talent.

Content Creator Of The Year

Winner: PAPZ

Papz has become one of TikTok’s funniest rising stars, known for his sharp skits, unforgettable characters, and effortless ability to turn anything: from rap beefs to everyday chaos: into pure comedy. With millions of views and a growing online community, he’s now levelling up from creator to director, bringing that same humour and creativity to the screen in new, bigger ways.

Fashion Brand Of The Year

Winner: CLINTS inc

Clints Inc have kept the heartbeat of streetwear alive while elevating its cultural relevance. Rooted in Manchester but scaling far beyond, they’ve turned drops into moments, fashion into voice, and community into movement.

Dj Of The Year

Winner: DJ AG

DJ AG is the street DJ bringing culture back to the pavement. Known for his viral pop-up sets that have seen surprise moments with Skepta, Ciara, and Craig David, he’s built a movement rooted in community.

Dancer Of The Year

Winner: Zoe Baptiste

Zoe Baptiste is a dancer and creator whose infectious energy has made her one of TikTok’s standout stars. With over 2.8 million followers, she’s built a global community through choreography that blends rhythm, joy, and personality. Every routine feels like a celebration - turning trending sounds into moments that connect people everywhere.

Stylist Of The Year

Winner: Elshy

El-Shaddai Nyagodzi is a UK fashion stylist redefining what modern style looks like. Known for her bold, editorial edge and work with artists like Odeal and on the 2024 film Raye: Genesis, she crafts looks that balance creative vision with individuality. Featured in GUAP and Deeds Magazine, El-Shaddai’s styling doesn’t just dress her subjects, it amplifies who they are.

Best In Glam

Winner: Faith Melody

Faith Melody is a hair sculpture artist inspired by traditional West African hairstyles, blending heritage with modern artistry. Her creations are elegant, powerful, and timeless - transforming hair into living pieces of cultural storytelling.

Director Of The Year

Winner: Lauzza

LAUZZA is a London-based director shaping the look and feel of the UK’s new music era. Known for his cinematic eye and signature Y2K-inspired visuals, he’s worked with artists like PinkPantheress, Jim Legxacy, and YT, creating videos that feel both nostalgic and futuristic. As part of the production company Compulsoryview, Lauzza continues to push visual storytelling forward making every frame feel like a memory in motion.

Fashion Designer Of The Year

Winner: Foday Dumbuya

Foday Dumbuya is the founder and creative director of LABRUM London, a British-Sierra Leonean fashion brand telling untold stories of migration, heritage, and identity through design. Born in Freetown and now based in London, Foday merges classic British tailoring with West African craft and storytelling creating garments that feel both global and deeply personal.

Brand Of The Year

Winner: Topicals

Topicals is a skincare brand founded by Olamide Olowe and Claudia Teng, redefining what “good skin” looks like. Focused on treating chronic skin conditions like hyperpigmentation and eczema, the brand combines science with culture - using bold, inclusive storytelling to celebrate real skin, not perfect skin.

Photographer Of The Year

Winner: Elliot Hensford

Elliot Hensford is a UK-based photographer and creative director capturing the energy of music, fashion, and youth culture. Known for his clean yet soulful aesthetic, his work blends editorial polish with raw cultural storytelling. From shooting campaigns like Nike’s Air Jordan 40 to being named one of New Wave Magazine’s Top 50 Creatives, Elliot continues to shape how modern Britain looks and feels through his lens.

Model Of The Year

Winner: Tanatswa

Tanatswa is a London-based model redefining what modern beauty looks like. Represented by IMM Agency, she’s already caught the industry’s attention with standout work for Mugler and a presence that commands every frame. Effortlessly blending strength and softness, Tanatswa brings intention to everything she does — representing a new wave of models who aren’t just walking runways, but reshaping the culture of fashion itself.

These are the spaces shaping the future and they are being amplified further with the support of NYX Professional Makeup and their Proudly Pro-You platform. The brand is ensuring that these community organisations can continue to create safe spaces and places so that the community can be proud, vibrant, fearless, and unapologetically queer.

West London Queer Project (@westlondonqueerproject)

A non-profit driven by the desire to connect, support, and give voice to LGBTQ+ people in West London. Through advocacy, events, and awareness campaigns, they’re building a welcoming and empowering space where queer people can feel seen, supported, and celebrated. From policy change to parties, West London Queer Project is uplifting the community one connection at a time.

The Connection Party (@theconnectionparty)

One of London’s sexiest queer POC experiences, celebrating culture in a safe and inclusive space for all. More than just a party, it’s a social network and movement where LGBTQI+ people of colour and allies come together to dance, connect, and embrace the beauty of diversity. Expect energy, community and vibes that can’t be replicated.

Jungle Kitty Club (@junglekittyclub)

The definition of freedom on the dance floor. A London-based club night built for Queer People of Colour (QPOC), it’s a vibrant celebration of authenticity and rhythm. With sets spanning Afrobeats, Amapiano, Dancehall, Jersey House, R&B and Reggaeton, Jungle Kitty champions music from Black and Latino cultures, turning every night into a cultural carnival.

The Cocoa Butter Club (@thecocoabutterclub)

An award-winning performance company and unapologetic celebration of performers of colour, The Cocoa Butter Club is where the stage drips in melanin and magic. Founded in 2016, The Cocoa Butter Club gives a voice to Black, Asian and racially othered artists through cabaret, classes and professional showcases. It’s not just entertainment, it’s a creative clap-back to cultural appropriation and a masterclass in representation done right.

Black Queers Connect (@blackqueersconnect)

A UK-based community group cultivating spaces of affirmation, joy, and authenticity for Black LGBTQ+ adults. Whether you come to laugh, learn, breathe or belong, their events are about connection and care. It’s a reminder that community joy is radical and showing up as yourself is enough.

Fluid (@fluid_london)

A London-based urban LGBTQ+ club night making inclusivity the main event. Hosting monthly parties across the city, they spotlight emerging talent alongside celebrity-level performers, creating high-energy nights where everyone can be their true selves. Fluid is more than a name, it’s a mindset.

These are the spaces shaping the future — vibrant, fearless, and unapologetically queer.
Check them out, show love, and pull up to their next event.

Find out more: https://www.nyxcosmetics.co.uk/proudly-pro-you

Powered by NYX Professional Makeup

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#NYXCosmetics_UK #GUAP

When asked which of these new flavours Brits would most like to try, Lemon Myrtle (24%)
and Pepperberry (19%) came out ahead of Matcha (16%) and Black Sesame (14%).
Despite the rising global popularity, over a third (35%) of Brits are yet to try any of the new
wave of Asian inspired ingredients, with just 3% having sampled Shiso and 4% trying
Pandan in the past 12 months.

The nostalgia fuelled ‘halmaenial’ trend, which sees young consumers embracing food from
their grandparents’ generation, is also tipped to help drive flavours like Black Sesame back
into the mainstream.

If coffee culture once revolved around the biggest buzz, 2026 looks set to be about slowing
down. Just over six in ten Brits (61%) 3 have already cut back or considered cutting back on
caffeine, particularly men (62%), with daily impressions for decaf coffee up 90x this year 4 .
When asked what they’d swap coffee out for, Green Tea (34%) and decaf coffee (32%) led
the way, with a third of Gen Z (33%) selecting Matcha as their slow-release caffeine fix.
Hojicha, a roasted green tea with a gentler kick, is also emerging as a contender.

The report also shows a focus on gut health moving firmly into the mainstream, with 84% 5 of
respondents saying it is of importance when making food and drink choices, rising to 93%
amongst 25-34 year olds.

Half of Brits (54%) 6 say TikTok’s ‘fibremaxxing’ trend or the growing focus on fibre has
influenced them, with Millennials the most likely (28%) to be actively increasing their fibre
intake. Articles on fibre and gut health have seen a 95000% increase in page views this year
alone 7 .

The latest findings come from Oatly’s Future of Taste report, a global first from the world’s
original and largest oat drink company that combines the interviews of hundreds of baristas
and drinks experts from across 23 countries, with quantitative trends data compiled by
researchers, CultureLab. The report findings have been backed by data from Censuswide's
poll of 2000 UK Consumers.

Speaking about the report, Rowena Roos, Oatly Global Head of Food and Drinks
Experience, said:“This report paints a vibrant picture of where beverage trends are heading.
People’s daily drink choices, especially younger generations, are being shaped by a world in
flux. We’re seeing drink trends go viral from London to Seoul, and technology is making it
easier to order, customise and share these signature moments.”

She continues, “Health, sustainability trends and global flavours are all blending as a
generation raised online is seeking both identity and connection in every cup. At Oatly, we’re
working with coffee and hospitality partners to turn these global taste trends into incredible
on-menu experiences.”

As part of the launch of its Future of Taste Report, Oatly has published its latest Lookbook
for Autumn/Winter illustrating how to bring some of these flavours and trends to life through
some iconic signature drinks for the future.

Read the full report here: oatly.com/future-of-taste
Enjoy the Lookbook recipes and imagery here: oatly.com/lookbook

The Relentless party package includes an all-in-one DJ controller, two powered professional speakers with subwoofers, all Pioneer DJ. The service is accessible through three Pirate Studios locations: Birmingham, London, and Leeds and will run until mid-December 2025. 

Commenting on the initiative, DJ AG said, "Over the years, I've been fortunate to build an amazing network and have always felt a responsibility to give back. This project is a direct way for me to support. It's about more than just equipment—it's about providing the tools for people to express themselves and build their own scenes, without the financial stress." 

For a chance to grab the gear, hopefuls can visit the Pirate Studios website, fill out an application form with details about their proposed event and preferred dates. Pirate Studios will contact successful applicants to confirm pickup and drop-off times at their chosen Pirate Studios location. 

A limited number of free studio vouchers will also be made available to artists as part of the project. This offers an invaluable opportunity to hone their skills, practice on professional gear, and perfect their sound in Pirate's network of cutting-edge studios. 

This new scheme is part of Relentless' Freeform platform, which was established to support subcultural scenes and champion creative freedom. Following the launch, DJ AG will participate in a one-off mentorship session as part of the Relentless Freeform Forum, offering guidance to aspiring DJs, producers, and MCs. Full details will be announced in October.

For more information and to apply, please visit: https://pirate.com/en/relentless/

Returning to Reggae Land for the second time, Jamaican-born Grammy Award–winning artist Kabaka Pyramid marked the festival’s fifth anniversary with an immaculate performance that set the stage ablaze.

The man they call the Lyrics Deity and Mystik Man delivered each verse with grit and conviction, his energy so potent it seemed to shift the weather itself, as rain clouds parted and glaring sunlight broke through, the crowd swayed in rhythm, basking in warmth summoned not just from the sky, but from the very essence of the performance. Fan favourites such as Red, Gold and Green, Believe, and Mi Alright stirred the crowd into a single, ancestral voice, a collective ceremony of sound and spirit. His sound is a deft fusion of roots reggae, dancehall, and hip hop, carrying the lyrical vigour of rap and his adopted Pan-African philosophy, rooted in Garveyism and Rastafari teachings. Though influenced by Sizzla, Peter Tosh and Wu-Tang Clan, his cadences remain unmistakably his own.

As an indigenous community, Rastafari have long endured international scrutiny, leaving many of Kabaka Pyramid’s predecessors alienated or blacklisted for standing firm in their beliefs. Kabaka, however, has managed to hold fast to Rastafari principles while remaining deeply measured, establishing himself as one of the most vital voices in contemporary reggae.

His music illuminates the realities of Jamaica’s inner-city communities, offering a counternarrative to the nihilism, violence, substance abuse and hypersexualisation so often crudely projected onto dancehall and, by extension, Caribbean culture. Alongside Chronixx, Protoje and Jah9, he became a cornerstone of the reggae revival — a movement that signalled a return to roots, Rastafari spirituality and conscious lyrical expression.

Kabaka’s message, steeped in Pan-Africanism, social justice and spiritual upliftment, resonate far beyond Jamaica. They trace an ancestral arc: from Africa’s cultural hearth, through the forced voyages of enslaved Africans, into the crucible of the Caribbean, and onwards to their descendants in Europe. For many Black Britons, reggae has long served as a groundation ^[1], a space to engage anti-colonial and decolonial ideas in practice. This has particular significance for men of Caribbean heritage, whose lived experiences echo those Kabaka narrates, including unemployment, systemic exclusion, disparities in education, disproportionate imprisonment and mental health detention.

Here, reggae remains more than music; it is a cultural anchor, shaping language, style, dance and the sound system traditions that continue to pulse through Britain’s carnivals and community life. Against this backdrop, Kabaka’s voice does not merely recall Jamaica’s turbulent and contested her/history, it affirms a shared struggle for dignity, healing and justice that stretches across continents.

Fresh from pouring every ounce of energy into the stage, Kabaka Pyramid welcomed the chance to speak. In our conversation, he spoke with humility yet conviction about his music, message and mission. He reflected on the guiding principles of Rastafari livity, and his deep commitment to holistic health and wellbeing. 

How does it feel to be performing on Reggae Land’s mainstage at Europe’s second largest reggae festival? 

Kabaka Pyramid: Nah, it’s joy. I feel like, from you see Reggae Land step out it’s like the best names in Reggae and I’m glad to be a part of it and associated with a great culture around reggae music. Caribbean culture, Jamaican culture, African –  yuh nah mean. Everybody inna one […] that unified spirit.

And we know you go by the lyrics deity, yuh nuh mean. How important is the message in the music and artist’s overstanding of the culture and the conditions of the people?

Kabaka Pyramid: Very important because music changed my life. Music really set me pon Rastafari path, you know. Through - mainly through really Sizzla and his music. He did that for me, he was a big inspiration. So I always feel like if I go-do music, I want to have that effect on other people. So it’s really the motivation behind the message and the lyrics. Mi is a lyrical man because me couldn’t sing – mi never could sing so me just go lyrics. And then I just work my voice – develop my voice over the years, and we do what we do professionally – it’s a joy. 

Definitely, definitely. I know [the song] Black, Woman and Child [by Sizzla] had a big impact on you, as well as Marcus Garvey’s Opinions and Philosophies which I hear in songs like ‘Believe’ and ‘Natural Woman’. 

Kabaka Pyramid: Definitely. Yeah. 100 percent. 

I’m a holistic man and I know you’re a yoga Practitioner; I know you’re an ital man ^[1]; and I see yuh deh pon Instagram doing pull ups. So, tell me what does livity mean to you and how important is it for one’s and one’s to hold fast to livity?

Kabaka Pyramid: It’s how you live your life, yuh nuh mean. Not just because we talk about it in the music but we affi really live it. You know we see if you live a certain way, you come out with diseases and all them summin’ there. We know that as you say, livity […] we see certain things and the only thing is to sustain life, and that’s really what it’s about. It’s how people live, sustain what we have and do things properly. We see certain things even as Black people [including the development of] diabetes, […] hypertension so we try to do the best we can do to preserve life.

With Reggae Land 2025 celebrating icons like Capleton, Chronixx, Mavado, and Dexta Daps, the festival continues to showcase reggae’s global sound and influence, shaping culture both at home and abroad. Reggae music is more than entertainment—it is an enterprise that transforms lives, creating opportunities for artists to rise and thrive while offering listeners a soundtrack that inspires, heals, and connects. If this year’s lineup is anything to go by, Reggae Land 2026 will be unmissable. Secure your place now: Reggae Land

^[1] Groundation generally refers to the state of being grounded or connected to one's roots, particularly within the context of Rastafarian culture. 

^[2] The esoteric knowledge of the Rastafari Livity includes the consumption of ital foods, often know by the slogan – “ital is vital”. This Afro-Caribbean practice would traditionally include strict adherence to naturally grown organic plant sourced produce, herbal remedies, and avoidance of excessive oils, salt, refined sugars or anything considered artificial. 

In today’s fast-paced digital culture, the way we consume music has drastically changed. Albums, which were once considered cohesive bodies of work and artistic statements, are increasingly being replaced by single track listening, playlists and algorithm driven discovery. Listeners rarely seem to sit with an album from start to finish and music is often experienced in fragments through TikTok snippets and trending Reels sounds.

This fragmented approach extends beyond how we listen, it’s seeped into how we experience live music too. Concerts and events centering music, which used to be more about emotional connection or genuine musical appreciation, now often feel driven by FOMO. If you’re even mildly online, you’ve probably seen the discourse among young people in London, around how people are going to certain events only to get content, a photo, and the right to say “I was there”.

Of course there are exceptions, take the recent Kaytranada concert for example. Amid a flood of negative video reviews claiming no one was enjoying themselves, there were still people there purely for the music and to actually enjoy the night. And honestly? If you love the artist, shouldn’t that be the point? Barring legit complaints like overpriced drinks or bad sound systems, when did we stop going to events for the music?

Talking to my parents, aunts and uncles, it’s clear that older generations approached nightlife with a sense of presence that feels a little more rare now. They were living every moment and the dance floor was about freedom, community, and losing yourself in the music. Just them, the DJ, and the crowd. There was a different kind of engagement - more intentional. For me, this notable change in the way we consume art has gone beyond a mild annoyance.

This shift feels like a cultural blind spot too. After attending Beyoncé’s Cowboy Carter tour last month, I feel compelled to say something. The album isn’t just a genre switch or a sonic experiment; it’s a reclamation of black roots in country music and it’s a necessary cultural statement. From interpolations of traditional country to collaborations with newer black country artists, the album is doing the work of rewriting narratives and confronting erasure - and no, you don’t need to be a die-hard Beyoncé fan to understand or appreciate the intention, craft, and cultural weight behind what Cowboy Carter is doing.

Coming from a Black British Caribbean household, I was excited to hear that the next genre of her three part act would be country. Growing up, my parents had spoken to me many times about the connection between the Windrush generation, the British Caribbean community, and country music. It is rooted in shared themes of migration, struggle and storytelling. In the mid - 20th century, American country music by artists like Jim Reeves and Patsy Cline was widely listened to across the Caribbean, resonating with working class communities through its emotional lyrics and spiritual undertones. When many Caribbean families migrated to the UK, they brought this love of country with them, quietly weaving it into the musical fabric of British Caribbean life.

Unfortunately, messages like these get lost when we only engage with the surface. If your interaction with an album begins and ends with a viral soundbite, you’re likely missing the intention and nuance woven throughout. The art becomes aestheticised rather than understood. I saw a TikTok comment that said, “Babe why are you singing the national anthem, read the room.” After someone responded explaining the context, the original poster replied, “I don’t care what it means, I came to hear Single Ladies.” 

I’m not saying everyone needs to be a historian when they press play. Music can absolutely be just a vibe. But when people start dismissing or minimising the meaning behind certain songs because they don’t get it, I think that’s where we as a society are slipping.

Of course we should listen to music however we want, but I’d love to challenge you to pause and reconsider how you choose to consume music, art and live experiences this year. Have we become lazy listeners? Passive audiences? I think Cowboy Carter might have exposed that in all of us to varying degrees. So, I’ll leave you with this: the next time an artist releases something that demands your attention and the music’s doing something meaningful, try and meet it halfway.

Discover more from our music section here.

The event, marking the brand’s latest Metal Vent Tech campaign, had more to it than product drops and photo ops. Hamilton, who officially joined lululemon as an ambassador earlier this year, introduced a guided Slow Down Practice—an immersive moment of breathwork and reflection—before settling into a conversation with Dark. Together, they explored what it really means to “slow down to speed up.”

“There’s real energy being back in London this week,” Hamilton said. “To be here with lululemon, celebrating a collection that’s become such a core part of my routine feels really exciting.”

This wasn’t surface-level wellness chat. The duo touched on the rituals that anchor Hamilton through high-pressure moments—mental resets, physical discipline, and creative self-care. The conversation, candid and grounding, mapped out a shared ethos around intentional living and movement as medicine. It’s the kind of dialogue that feels overdue in performance spaces so often dominated by grind culture.

Hamilton's current campaign with lululemon—No Holding Back—spotlights the rigour behind the wins, giving face to a collection engineered for real-world training and recovery. Think: anti-stink, no-chafe, sweat-wicking gear that actually moves with you. At the event, he wore the Ripstop Relaxed-Fit Cargo Pant and Coaches Jacket in Army Green, paired with BeyondFeel trainers—technical but unfussy, a look that feels just as suited to a studio as it does post-session stillness.

But Hamilton made it clear: this isn’t about product alone. “I’ve always been intentional with what I wear and who I work with,” he said. “lululemon didn’t just turn up with product—they came with purpose, and that’s something I really connected with.”

As brands scramble to align with athlete-influencers, this partnership lands differently. It’s not just about athletic prowess or off-duty style. It’s about vision—how we train, how we breathe, and how we move through the world with meaning.

Hamilton is a man constantly in motion. But here, in the quiet of Covent Garden’s brutalist landmark, the power was in the pause.

What happens when tailoring meets storytelling, and fabric becomes the canvas? For Florent Tabaro, design is about more than clothes. It’s a blueprint for identity.

Florent’s journey didn’t begin at school or in a studio, but at home beside his mother. Learning how to sew so he could taper his jeans to make them skinny like everybody else. That small act of wanting to belong lit a fire that never left.

Soon, he was tailoring for friends - making trousers slimmer, hems shorter and silhouettes more personal. But being the go-to tailor came with limits. People only came to him for adjustments. It put him in a box. And Florence never did well in boxes, so he pivoted.

From altering clothes to altering perceptions, he dropped his first collection. But before that, heasked questions, reaching out to other creatives about what they wanted to see. The answers shaped his vision. The result? Pieces that weren’t just wearable, but necessary. People didn’t know they needed these pieces until he made them.

His design process is sporadic. Never forced. It could start from staring at the top of a building, the corner of a room, or the way a shadow folds on fabric. He doesn’t chase inspiration - he lets it happen. “The best ideas come when I’m not looking.”

That instinct is central to his work. Florent creates as the ideas flow. He doesn’t rush the process, because rushed ideas never hit the same. His tailoring background gives him an edge; he understands proportions, studies how fabric falls on the body, and obsesses over structure. Pockets aren’t just practical, they’re poetic.

He’s drawn to heavier fabrics with rich textures and weights. He looks for longevity and builds with intention. “I know the struggle of wanting long-lasting pieces,” he says. And every detail counts. Even when something is imperfect, he’ll add just enough to make it feel whole. That’s the true beauty of his work.

Florent’s style is unpredictable, it shifts as he does. “What I liked then, I might not like now. I’m always expanding my knowledge.” That constant evolution defines his creations - each one being a reflection of his state of mind at that moment.

One of his proudest pieces is the Homagè bag. A one of one rework crafted from black leather, inspired by a thrifted Burberry design. At first, Florent didn’t understand the love it received, but the emotion in it was felt more than seen and the bag even ended up in the hands of Lil Uzi Vert.

From the sold-out LYFE vest to a silver-detailed denim jacket, every item carries its own story.

He’s not trying to fit into trends - he’s building his own lane. Creating a demand rather thanchasing one. And through CreatedFlo - his collaborative studio, he’s extending that ethos. Born from a gap in the market for pieces he wished existed, CreatedFlo is where Florent explores new ideas, works with other creatives, and keeps emotion at the core. “I’m still learning how to form that emotional connection in the work,” he says. “But it has to feel like me.”

With each collection, Florent moves closer to his vision. He’s not catering to a demographic - he’s creating one. And once he gets there, there’s no telling how far he’ll go.

Discover more from our Fashion section here

In October 1982, the French Minister of Culture appointed Maurice Fleuret as Director of Music and Dance. Fleuret's vision sought a “call to arms” for musicians, aiming to bring music out of the concert halls and onto the streets. The result was the birth of la Fête de la Musique - a celebration and union of music without hierarchy of genre or origin. Each year on June 21st, spontaneous music performances transform the streets of Paris to mark the beginning of summer. 

Designed to blur the lines between amateur and professional, Fleuret's ideology for la Fête de la Musique was a festival of sonic  liberation; it remained open to everyone, regardless of social or economic status. And in today’s hyperconnected world, the spirit of inclusivity spreads fast. Social media has accelerated our exposure to cultural traditions, turning Fête into a beacon for music lovers and a prime target for commercial exploitation - fueling a new wave of brands and organised events ready to chase the same grassroots magic. 

As Fête de la Musique's online coverage spreads to gain international recognition, the debate over authenticity grows, but can France gatekeep a national festival which was built on democratisation of performance? Traditionalists argue that the festival’s essence is being diluted from its original purpose. Commercial partnerships, ticketed events and Anglicised branding have led to mass tourism within the city. Terms like “DJ set” and “live session” are increasingly replacing their French counterparts, sparking resistance from French nationals, with posts on social media telling tourists not to invade this national space.

Paradoxically, it’s exactly this international character which draws so many outsiders in. For foreign artists and audiences, Fête offers not just a stage, but a rare platform where music speaks louder than passports or pedigree. The cross between music and social freedom is not just a celebration, it’s the place to be for anyone seeking the raw, unfiltered energy of culture-in-motion, where street corners become the hubs of cultural expression. 

Though originating in France, Fête shares its ideology with many European counterparts, each with their own rhythm, purpose and politics. 

Karneval der Kulturen (KDK), Berlin: Born in 1996, KDK celebrates the city’s multicultural identity with parades, open-air concerts and a loud rejection of far-right nationalist narratives. Like FDLM, it’s chaotic, political and free.

King’s Day, Netherlands: Every April 27th, Dutch cities turn orange and go wild. While technically a royal celebration, King’s Day has evolved into a country-wide street party. Music is everywhere, spontaneous sets are welcome and over a million visitors come to the city to haggle and drink beer.

Notting Hill Carnival, London: While primarily a celebration of Caribbean heritage, Notting Hill Carnival is known for its colourful costumes, steel pan bands and traditional food. From calypso to grime, the UK’s largest street festival (and Europe's biggest Carnival) shares FDLM’s spirit of public performance.These festivals, much like la Fête de la Musique, are born from a desire to dissolve barriers between genres, classes and cultures. While each has its own unique DNA, they are all a reminder that music thrives when it’s shared, unscripted and in the hands of the people. They promote artistic expression, shape trends, foster cultural diversity and serve as platforms. In a time of curated feeds and ticketed experiences, Fête reclaims public space and sound. As its influence spreads from Parisian boulevards to Berlin’s carnival routes and Amsterdam’s canals, it continues to challenge how we define ownership, artistry and access.

Discover more from our Arts & Culture section here.

Shot by Amanda Sheik

The ‘sporty but girly’ trend is one that has always been popular; whether it’s the girl you know from down the road, or your favourite celebrity - everyone loves it. There is synergy created when bright and bold sportswear is paired with delicate and more traditionally feminine items of clothing. 

It’s a beautiful ode to how women have integrated sports into their everyday lives and cultures despite how long it’s taken for women’s sporting contributions to be properly recognised globally.

A particularly popular item of clothing to add the ‘sporty’ element to any outfit is the football shirt. It's an effortlessly cool item of clothing regardless of the team, and with the summer months looming (you wouldn’t think so with all this rain…) it also highlights an exciting time for women’s football with the Women’s Euro’s kicking off in July. With the Lionesses securing their first win in the summer of 2022, they are hoping to be one of the very few teams in the competition to win a double since it started in 1984. 

It’s not just football taking over, it's an equally amazing period for women’s tennis as Coco Gauff has just won the Women’s French Open title, adding another achievement to her arsenal - a true testament to her being one of tennis’ new trailblazers. Tennis is another sport that defines the ‘sporty but girly’ trend, with the iconic tennis skirt being an item of clothing that blends the two worlds. I grew up in the generation of girls that quite literally fought to get their hands on the American Apparel tennis skirt (it was on everyone’s tumblr page), and have seen firsthand how sportswear has been juxtaposed with femininity and the longevity of this trend. 

It has always been a staple in pop culture - from old school music videos and movies such as ‘Bend It Like Beckham’ to its modern day resurgence with TikTok creators adding a more creative flare to how pieces are put together. Fashion has also had a longstanding love affair with sportswear with designers like Martine Rose releasing men and womenswear inspired by football kits - her AW23 collection in particular being inspired by the Lionesses. Other fashion houses such as Miu Miu have also released their cheeky (quite literally) twist on the tennis skirt- to name a few recent examples.

Discover more from our Fashion section here

The track features rising alt-R&B star KAIROS*, floating in with a velvet-smooth hook, while the beat comes courtesy of South London’s 3AM—the producer-engineer hybrid who’s worked with everyone from Bellah to Stylo G.

The video kicks off with a voice cameo from Rellik, host of the iconic R&B show on Reprezent Radio—a subtle nod to the underground scenes and sonic spaces that shaped this sound. This one’s rooted in community, soaked in South London soul.

Musically, it’s a perfect balance—rap meets R&B in a soft collision of swagger and sentiment. J. Eka glides through verses with clever wordplay and confident calm, while KAIROS* brings that smoky, late-night energy reminiscent of Don Toliver or early PND.

With Waterfall, J. Eka continues his glow-up—building on the momentum of past drops like Talk Less and Does He Know? This one leans deeper into his R&B bag: sensual, polished, and just a lil bit cheeky.

J. Eka is a boundary-pushing artist out of South East London, blending introspective bars with a sharp eye for style and storytelling. Since stepping onto the scene in 2012, he’s carved a lane all his own—where rap meets runway, and references run deep.

From BBC 1Xtra to Vogue, Wonderland to Flanelle, his work’s been championed across both music and fashion circles. And when he’s not behind the mic, you’ll likely spot him front row—side-by-side with creative partner and stylist Lala Roswess—serving looks as effortlessly as he serves lyrics.

We caught up with J. Eka to ask him a few questions on his latest release.

What brought about this collaboration between yourself, KAIROS* and 3AM and what was it like working with them both?

I first met KAIROS* at an event — he performed and I knew straight away I wanted to work with him. We connected and set up a session with 3AM, who’s a crazy talented producer. At first, we were building from scratch but nothing was clicking. Then 3AM pulled up an older beat — it was slow, but Lala Roswess, who was with us, suggested we speed it up. The second we did, it just clicked.

KAIROS* laid down the melodies, no words yet, but the vibe was there. I wrote my verses on the spot, and we came back later to finish it off. The chemistry between all of us was effortless — everything just flowed. That’s how Waterfall came to life.

This song is a blend of both R&B and Hip Hop, why is genre bending something that you are fascinated with?

Music was never meant to be boxed in — it’s meant to be felt.

Genre is just a label, but feeling is universal. Blending genres is a way of honouring music itself. It pushes boundaries, sparks new ideas, and invites people to hear something unexpected. Especially in an industry where imitation is so common, genre-bending is a way to stay creative and challenge the norm.

Are there any other genres of music you would like to merge with your sound in the future?

Definitely classical — and elements of gospel too. Those chords hit different, they move something in your soul. It’s a higher frequency, a spiritual one. I’d love to tap into that and blend it with my sound in a way that feels true to me. It’s about creating something fresh, but rooted in feeling.

There is a strong emphasis on lyricism in your verses on this song, do you feel that lyricism is an important aspect of rap and if so, was this inspired by anyone or anything?

It’s essential, man — that’s what makes the craft an art form to me. Lyricism is storytelling. Rap is poetry, but it can also be a snapshot of real life — an insight into your point of view, your reality. That’s the power of it. Even when it leans melodic, I rate the way artists blend the two. I’ve done it myself, and I’ve always respected the ones who can really say something while keeping it sonically new.

The video is based in London, and features 3 beautiful black women. Was it important for you to reflect both your love for South London and black women in this video?

Definitely. I wouldn’t be here without Black women — full stop. And this song wouldn’t exist without one either — Lala Roswess co-wrote it with me. We wanted the video to feel like a real London night out — spontaneous and full of energy. Whether it’s vibing at events or in the car, it’s that feeling of being with your people that makes any night unforgettable. Showing love to Black women and to London was always the heart of it.

Do you have any dream collaborations? 

Gotta be Kendrick Lamar — I’ve always been drawn to lyricists and layered storytelling, and he’s a master of both. UK-wise, I’d say Chip. The guy never runs out of bars, and he makes it feel playful and effortless. On production, it’s gotta be Kanye or Pharrell — they both know how to build worlds with sound.

What are your ambitions/plans for the next 12 months?

I’m working on a project right now — something that feels like a proper artistic statement. I want to give people a body of work they can really sit with and connect to. I’m also planning a few live shows, so I can bring the energy of the music to real spaces and connect with people face to face.

Goldlink has finally returned after a few quiet years with his new project ENOCH, and it feels like he is
really reminding us of what he is capable of. After one of his most successful projects, 'At What Cost'
back in 2017, Goldlink went on to release experimental projects like Diaspora and Haram to a mixed
reception due to the avant-garde nature of the production and sound. However, ENOCH feels like a
departure from this experimentation and a return to the sound and style his fans have grown to miss.

Although not a full recreation of his previous music, ENOCH feels like an opportunity for Goldlink to re-
establish himself as an artist.

ENOCH’s sound embodies Goldlink’s time spent travelling with references to house, UK dance music,
electronic, as well as African inspired beats all anchored consistently to his DMV hip-hop roots.
"AVENTADOR" and "LIMPOPO" stand out on the album with their energy and polished production. In
fact, LIMPOPO specifically reminded me of how great of a rapper Goldlink truly is and how I have missed
the uniqueness of his tone and flow.

METATRON (feat. Lola Moxom) is the lead single which featured an accompanying music video that was
released prior to the release of ENOCH. This was a smart choice for the single as the song offers a
taster of the nostalgic nineties inspired sounds throughout the album but also sets the mood for the
return to Goldlink’s earlier style.

However, there are points in the project where production choices lead to songs feeling underdeveloped or even repetitive making the album as a whole feel unbalanced. Specifically, CLUB BEAT feels like it
does not add enough to the project for it to be included. In the same vein, GLOCK HEAVY does not have
the same level of innovation found across Goldlink’s discography.

In ENOCH, Goldlink returns to his usual topics of discussion such as identity, his DC heritage and
spirituality as seen in songs like MOORPHEUS, METATRON and in the project’s name itself.

In METATRON he starts with the lyrics, "Raps in my head / Demon in my bed," evoking a sense of reflection and internal strife. "I'm trying to start to judge less / And listen to my heart more," he adds suggesting a journey of growth and increased self-awareness. Also, the title itself Metatron suggests Goldlink is making conscious references to esoteric themes, Metatron is an archangel in Jewish mysticism, he is often identified as the transformed version of Enoch after his ascension. Often representing the bridge between human and divine knowledge , Goldlink’s use of METARON suggests that he may be pursuing his own evolution and moving from difficulties to potentially the position of a messenger.

While the symbolism and themes are interesting, I feel as though lyrically Goldlink could have pushed
himself further to truly capture this new personal mythology. ENOCH features multiple well-suited artists, Matt McGhee, Fat Trel, and Big Flock bring regional flavour and nostalgia, complementing Goldlink on their respective tracks. Fat Trel provided the best verse with raw and grounded lyrics, adding a lot to MOORPHEUS - in fact, it could be argued that he made the song. Overall, as mentioned earlier there is a loose spiritual and metaphysical arc across the project but it is difficult to identify and even harder to follow. Instead of a clear linear storyline presents ENOCH more as a collection of ideas very loosely threaded by the metaphysical references. Despite this longtime Goldlink fans will enjoy this project regardless purely for the return of the sound that originally made them fans in the first place. Overall, Enoch is a good album that will play well in any summer barbeque or basement party. It is a great reminder of Goldlink’s capabilities and makes listeners feel like there is much more to come. It is a step in the right direction despite its limitations.

Discover more from our music section here.

They join an already heavyweight line-up of over 90 artists set to perform across five vibrant stages at The Milton Keynes National Bowl on August 2nd and 3rd, 2025, as Reggae Land celebrates its 5th anniversary in style.

Also announced is Little Lion Sound, who will take over the One Love Stage on Saturday with their infectious energy and signature selections.

Following a record-breaking edition in 2024, Reggae Land returns with enhanced production, and a jam-packed programme of reggae, dancehall, dub, jungle, and DnB — alongside art installations, a Caribbean food village with 70+ vendors, a reggae flea market & more.

With already announced names including Chronixx, Capleton, Steel Pulse, Gyptian, Alpha Blondy, Kabaka Pyramid, Protoje, Tanya Stephens, Spragga Benz, Morgan Heritage, Iration Steppas, Mungo’s Hi Fi, Mad Professor, and Aba Shanti I, Reggae Land 2025 promises an unforgettable weekend.

FINAL TICKETS
 On-sale Friday 16th May at 9AM from £69.50 + booking fee

This milestone year is expected to welcome 100,000+ attendees, making it one of the largest reggae festivals in Europe. With unmatched vibes and a line-up that spans legends to rising stars, this is an essential date in the summer festival calendar.

Signing up is essential for access to final tickets! Sign up via reggaeland.co.uk

The adidas UK x GUAP Originals Creator Network is back with another cohort of 20 amazing young individuals who are expected to do amazing things in this upcoming year! Supported over the next 7 months with bi-weekly workshops, access to industry mentors, and a chance to create a final piece of work, we can't wait to see what this year's Originals produce!

Without further ado, please meet your new OCN.

Hammad Kamara

Hi, I’m Hammad and I’m a Youtube Animator, making fan animations and original works.

Jadel Mcfarlane

Hi, my name is Jadel, 22 and the creator of RinumiUK, a brand that blends my love for sewing, pop culture and content creation. I’ve always been a creative at heart! After years in the performing arts. Dancing, singing, and acting on stage, I found myself becoming more interested in what happens behind the scenes, from TV production to the world of social media. That curiosity led me to start RinumiUK, where I bring my ideas to life through handmade designs and digital storytelling. I created an opportunity to share my creative process and build a space for community. I know there’s so much more to learn. The industry is evolving fast, and I can’t wait to be part of it in my own way.

Kia Claire 

Hi, my name is Kia Claire and I’m a visionary artist and director creating striking visuals that challenge the ordinary.
I specialize in short films, visual effects, illustration and animation, blending creativity with technical precision to bring innovative ideas to life. I run a successful visual arts business, KC9Design, where I’ve collaborated with over 100 artists and brands to produce album artwork, promotional visuals and branded media that connect with diverse audiences. My work has earned several awards, including Best Short Film and Best Visual Effects at the Milan Gold Awards and London Movie Awards, reflecting my unique vision and passion for creative storytelling.

Lauren Pencil

I am a designer, copywriter, and researcher born and raised in South London but of Jamaican and Mauritian heritage. My work oscillates between digital and print, experimenting with writing, design, and curation, often culminating in editorial projects. I have a degree in history specialising in art and material culture and I am particularly interested in work that decolonises history and design, whilst highlighting sustainability.

Ling Yu Yan

Ling Yu is a filmmaker and creative based in London. 

Liome Ogunbiyi

I’m a visual artist with a love for music, art, and storytelling. My work brings light to how sound and emotion can be seen - blending motion and colour to create visuals that feel alive. My style is futuristic while also being inspired by past creative movements. So far in my journey I’ve designed for Pinterest, produced artwork for Peckham Levels, showcased art through visual sets, album covers, and music visualisers that reflect what I imagine sound looks like. I’m always experimenting and exploring how visual art and music come together. 

Lovell Small

Hi, My name is Lovell.

I am a Freelance Photographer based in London, Originally from Birmingham of Jamaican-British heritage and I am proud to be a part of this year’s Guap x adidas OCN Cohort.

I have a passion for documenting excellence in my own unique way, capturing people within their element with raw energy and emotion, whether it’s Art, Fashion or Music, Often I do photography at Live Music Shows, Festivals and Events celebrating culture. My aim is to share lived experiences and emotions to inspire the next generation of people achieving excellence. 

Lucy Philip

Hi! I’m Lucy, a fashion photographer from Scotland based in London. My work is inspired by my love for nature and the sense of freedom it evokes. Fashion photography for me is about storytelling through collaboration and connection, and this fuels my practice to create images that feel both grounded and dynamic while celebrating individuality.

Nadine Scarlett 

I’m a Jamaican-British fashion and portrait photographer & creative director with a passion for telling stories. My work explores culture and identity, heavily influenced by my own personal environment.

Fascinated by documenting people and subcultures, drawing on personal, real-life environments to inspire my concept-led work.

Nora Pop

I’m a photographer and creative with a deep love for both music and fashion, which fuels my work across these industries. I thrive on capturing the essence of people and their stories, always taking the time to connect and listen to my subjects. This stems from my innate curiosity about almost everything. I want authenticity and emotion to be present in all of my visuals. My friends would describe me as bubbly, outgoing and a sucker for a good sunset.

Ola Adediji

Ola Adediji is an Afro-futurist director born in Ireland to Nigerian parents. The heart of her work is that African cultural practices have space in the collective future, by imagining Nigerian musical practices, stories, and clothing through a futuristic lens. Within her practice, she frames climate change and the implications of technology on humans.

Oliver Li

Oliver Li is a Chinese illustrator based in the UK, specializing heavy textured illustration and dynamic visual storytelling. His work explores the relationship between nature and humans, capturing emotions, environments, and personal connections through delicate brushstrokes, warm color palettes, and expressive compositions. Beyond his illustrations, he also works with animation and motion design, bringing his visuals to life through movement and layered storytelling.

Olly Reeves

Hey! I’m Olly - a creative/multidisciplinary artist from London. My work lives at the intersection of culture, community and creativity, often blending my love for music, culture and my people! By day, I work in creative communications, where I craft creative and content strategies for clients like Audible, Hasbro and Innocent Drinks - while in my own practice, I lean into my love for mixed-media design, content and music curation, crafting a work that ranges from music video content and visual art, to immersive playlists and DJ mixes that celebrate the impact music has in our communities. I’ve always been drawn to creating art and content that blurs the lines between reality and fantasy - playful, theatrical, and slightly unhinged (think The Wizard of Oz, Dr. Seuss and O.G Cartoon Network) - and I try to sprinkle that spirit into everything I make.

Ore Adedeji

Ore Adedeji is a portrait artist from Greater London of Nigerian descent and has made progress within the art industry since she began her journey at age 16 after being awarded an art scholarship. Her distinctive portraits, which explore themes of heritage, legacy and culture, have been featured in ELLE Magazine online and galleries such as the Royal Birmingham Society of Artists, Tafeta Art Gallery and at GUAP Magazine's emerging creators display at the Victoria and Albert Museum. Recognized as one of the "Top 10" Future black leaders in 2021 for her commitment to black art, Ore continues to explore her passion.

Portia Passley

Hi, I’m Portia! I am a London-based photographer with a passion for capturing all kinds of faces, in all kinds of places. My photography roots, which were defined in underground clubs and communities, have blossomed all the way into working with clients such as Spotify and KOKO as well as covering large-scale festivals like Red Bull Culture Clash and City Splash. Through this, I have continued to refine my craft in documenting London’s vibrant cultural scenes on 35mm film. My portfolio continues to be developed, through my studio, BTS and concept work (as featured through Deed Magazine) and boasts rich portraits that feel real, timeless and bursting with unfiltered life. 

Remi Ikumelo

A multifaceted babe, jack of all trades creating extravagant, fun & energetic art

Tasha Francis

Tasha Francis is a digital portrait illustrator from South London. The brand name for her creative practice; H8ngry (pronounced as 'huhng-gree') represents her visual appetite for producing vivid and visually stimulating images. Tasha wants to bring attention to the partial rejection of realism in her illustrations through abstraction and the use of varying colour contrasts. Although her illustrations represent real people, the imperfections formed through her expressive contour lines and unrealistic colour palette, present a more abstract and stylistic view of how she sees people through her artistic approach. Tasha explores the theme of Black hair through implementing collages in her illustration work to demonstrate the versatility of Black hair. As well as a visual artist, Tasha is also a film photographer who likes to capture faces at various urban events.

Tate Abbott

As a stylist/costume designer, originally representing West London, my creative journey began from an early age. After studying fine art for many years it lead me to start my styling career. My experience spans across Tv, film and fashion editorials. Currently my focus is within the music industry, working closely with artists to create impactful looks for music videos, events and live performances, translating the talents vision, sound and narrative into fashion.

Tevary Russell

My name is Tevary Russell and I’m an all-round creative in Visual Arts , Graphic and Brand Design with 5 plus years in personal and professional experience in Content creation , Modelling and freelance art. I’m also the proud Owner of a hype collectables , clothing and interior Design Brand @Highszn_

Yvann Zahui

Hi, Yvann Zahui is my name from Côte d’Ivoire. I am a multidisciplinary artist working in photography, graphic design, and moving images. Rooted in Afrofuturism, my work explores African identity and societal issues. I studied Filmmaking and Multimedia Graphics at Accra Film School before joining Voodoo Communication as a Graphic Designer (2019-2022) and later MW DDB as an Art Director (2022- 2024). A CatchLight Student Fellow under Aida Muluneh’s mentorship, I worked on projects like Road to Glory - The Nobel Peace Prize 2020. My work has been showcased internationally, including Photo Vogue Festival (Milan, 2023) as one of 40 selected artists by Vogue Italia. In 2024, I joined NOOR Foundation’s Advanced Mentoring Programme and received the Chevening Scholarship to pursue a Master’s in Photography at the Royal College of Art. My art has been exhibited at MuCAT, Windsor Gallery, and the Biennale Internationale du Design Saint-Étienne.

Known Source HQ takes the shape of a five-story townhouse located at 35 Brook Street in Mayfair. Home to thousands of unique and archival pieces, the store will act as both a retail space and double as a multi-functional activation hub, coworking space and creative studio.

Founded by Henry McNeill-Njoku and Theo El-Kattan in 2022, Known Source has played a massive role in the status of second-hand clothing in our current cultural landscape. Being a digital home to a meticulously curated collective of amazing independent businesses, Known Source’s goal has always been to serve the fashion community at every angle. 

“Known Source HQ is the next evolution of our community-led innovation. Trust is everything in our approach with our HQ, people will feel that with the products and the programming” - Henry McNeill-Njoku

Now, having a physical space just off Bond Street and a short walk from the heart of Soho, Known Source HQ will feature a selection of one-of-a-kind treasures from household name designer brands to specialist activewear to streetwear culture staples. 

The space comes as the company’s second store as part of Westminster City Council’s Meanwhile On project which aims to give outstanding brands access to impressive and modern retail spaces.

“There’s a real need for a physical space in London where creatives from different pockets of society can come together. We’re dedicated to showcasing and bringing together the second-hand subculture.” - Theo El-Kattan

Thanks to what’s starting to feel like a vicious cycle of developing attachments to talented artists - dare I say becoming a fan - only to later be disappointed by threads of previously buried problematic commentary or distasteful career moves, we are in an era when internet scepticism is rife among general consumers and music-lovers alike.

Entering the mainstream music sphere, at a time like this, as a highly respected individual with a multi-disciplinary background to back your chat is something we’ve become unaccustomed to. Singer, songwriter, producer, actor and all-round student of the creative game Leon Thomas has not only won thousands of hearts internationally, but his unmatched love for his craft is sure to propel him to unfathomable heights.  

Our set for the day is a stylish underground vinyl bar a short walk from St. Paul’s. As I take my seat avoiding the crew's commotion around me, I find myself drifting back to a couple of nights before at KOKO Camden. From the venue’s top balcony, I watched eagerly as the lights dimmed and somehow, a sold-out show’s worth of people all held their breaths in anticipation. A familiar chord cuts through the silence, followed by another and before being able to form a coherent thought, the space is transformed into the grand sonic landscape created by HOW FAST, the title track of the Brooklyn-born visionary’s album, MUTT.

So much of that night is now a blur and having avoided whipping out my phone to record segments of the show, I am left mostly with abstract memories of the artistic and emotional journey Leon Thomas had guided us through. As the man himself sits across from me now however, I am reminded of some of the exceptional highlights of that evening.

 “I come from a tribe of musicians”

Growing up in New York in the 90s, our well-rounded subject was exposed to the plethora of genres and music subcultures that the East Coast city nurtures, from hiphop to the blues. But there is no denying that his music inclination started from a very young age in his family’s home. “My grandfather is a big fan of jazz. He was very close to Art Blakely which was a big deal in our household, and it definitely plays a part in my eclectic taste,” he shares. “My stepfather is a big fan of classic rock and having access to a lot of these classic sounds has really helped me not be afraid to emulate that vintage tape feeling in a lot of my music - it plays a part in who I am and how I produce and put everything together.”

While your first interaction with Leon Thomas’ artistry might have been through his viral hit single MUTT which served as his first entry to the Billboard Hot 100, his journey has seen him acting on Broadway and TV shows, writing and producing music for some of the biggest names in the industry. But showmanship is not new to this polymath. “My grandfather was an opera singer. My mom was a singer and my stepfather played guitar for people like BB King and Salt-n-Pepa, so I grew up backstage. I grew up around musicians and Black rock stars.” Having parents in the Black Rock Coalition has left an indelible mark on Thomas that has morphed into motifs that present themselves in his radical sound - a far but welcomed cry from his past as a young actor.

 “When I was on Nickelodeon, they said I couldn’t be a producer… And 6 years later I was winning a Grammy”

“I generally don’t like being told what I can’t do. It’s the fuel that keeps me going,” he tells me with a coy smile. “When I was on Nickelodeon, they said I couldn’t be a producer. I remember a manager telling me ‘you don’t want to be a producer, it’s too hard’. And 6 years later I was winning a Grammy. From there they were telling me it was really hard to crossover from production to being an artist. Here we are now. I’m showing people that you can’t put me in a box and I’ll continue to evolve as I grow”.

That evolution is evident in Thomas’ discography. 2018’s Genesis is light and experimental while playfully calling on nostalgia. His first studio album Electric Dusk which he cites took between 5 and 6 years to be created and released, acts as a sincere and honest re-introduction to Leon Thomas the artist. His vulnerability on tracks like Breaking Point and Crash & Burn invokes impassioned responses in listeners as they develop a better understanding of his offering. “It’s cool closing my concert with a song like Treasure in the Hills. I could tell people really resonated with that… Or Breaking Point, that’s more of the sensitive side. The love seeking side.”

In contrast, MUTT is where Thomas presents a more braggadocious version of himself, “what I brought to MUTT was much needed bravado and confidence. These are affirmations I’m talking about, things I don’t even have yet, like buying cars I can’t afford because I’m speaking into existence a future where shit’s that lit and I’m watching my reality change in real time.”

 “A lot of it comes from a very rock’n’roll rebellious and angry place sometimes and I’m glad people can really feel my energy”

As he candidly shares how his different frames of mind dictate his creations, I’m once again transported to his sold out show just a few nights ago. An important part of his performance clearly hinged on live instrumentals, courtesy of a small band that joined Leon on stage. But aside from his consistently impressive vocals, he also elected to “do all the extra Jimi Hendrix shit”, he tells me. “Playing instruments brings that broad rockstar appeal to my setlists. I’ve been working hard to practice my scales and open up a little bit more with the electric guitar. I have a drum solo in my setlist too that really shows people my chops”, he says. “I’m definitely running into this rockstar energy a lot more and it’s cool to see the response from different kinds of crowds.”

MUTT’s infectiousness comes from Thomas’ willingness to break rules and take risks with genres that listeners would not necessarily expect. “I’m definitely a student of Prince and D’Angelo. I think those two artists blend [R&B and Rock] very well.” His approach to the album’s creation involved treating it like two halves which intertwine. One more lo-fi sounding while the other is more aggressive and borrows from rock and hiphop, resulting in a project that is very broadly appealing yet intentionally cohesive.

“I always felt like my music had legs. It wasn’t just something that would be regional. I felt like it’s the kind of thing that could be enjoyed in Copenhagen, Tokyo or London”

Leon Thomas is doing more than just creating records, his craftsmanship as a Black musician transcending genres is setting an industry standard. Taking up a space that positions him in a musical lineage of genre-defying Black musicians like Prince and Lenny Kravitz, each performance, each chord, each defiant lyric is a blueprint for what’s to come. One thing is for certain: his legacy will be about so much more than the music he makes today, it will be about how he seized his narrative to traverse artistic disciplines and expand the boundaries of sound for the next generation.

CREDITS

Words by Kemi Iruwa

Talent: Leon Thomas

Creative Director: Bethel Haimanot | Producer: Bethel Haimanot | Editorial Lead: Bethel Haimanot | Director: Keith Afadi | Photographer: Tiffannie Mersades | Stylist:Felicia Brown | Styling Assistant: Lestine Manduakila | Styling Assistant: Bridget Oseponye | On-Set Styling Assistant: Nnenna Egele | DOP: Javan Foster | 1st AC: Maynard Sabellano | 2nd AC: Vaughn Enesio | Camera Assistant: Miles Davis | Camera Assistant: Nicholas Velasco | Hair: Danielle Igor | MUA: Ayopo Abiri | BTS Videographer: Philip Patton | Post-Production Editor: Keith Afadi | BTS Editor: Bethel Haimanot

Styling:

Wrangler | By Ola | Christian Louboutin | IGOR Hair | LES BENJAMINS | ASOS | Dior | MJ JONES | Hublot | Feather Pendants | Feng Chen Wang | MAINS 

Location:

Hyde London | Black Lacquer London

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