Instagram Story Viewer

Native Mag x Tate present: A Very Special Nigerian Modernism Issue 🇳🇬

Centred on the ongoing Nigerian Modernism exhibition, this issue turns to a generation of artists who, spanning the final years of colonial rule and the early days of independence, developed a distinct visual language that expressed cultural identity and intellectual freedom.

Guest edited by Bunmi Agusto (@bunmiagusto), the issue returns to these histories and carries them forward, drawing clear lines to the current outstanding generation of Nigerian and British-Nigerian creatives working across music, fashion, art and food.

Featuring Osei Bonsu (@oseibonsu_), Mowalola (@mowalola), Yusuf Grillo, Adejoké Bakare (@jokebakare), Iré Hassan-Odukale (@ireoluwaho), Obongjayar (@obongjayar) and more, this issue traces key sites and movements, from Oshogbo to Zaria and Nsukka.

Credits:
Editor-in-Chief: Seni Saraki
Guest Editor: Bunmi Agusto (@bunmiagusto)
Co-Editor: Momo Hassan-Odukale (@momo.mho)

Cover image credit: “Portrait of a Young Boy”, 1954, by Ben Enwonwu, courtesy of The Ben Enwonwu Foundation

Native Mag x Tate present: A Very Special Nigerian Modernism Issue 🇳🇬

Centred on the ongoing Nigerian Modernism exhibition, this issue turns to a generation of artists who, spanning the final years of colonial rule and the early days of independence, developed a distinct visual language that expressed cultural identity and intellectual freedom.

Guest edited by Bunmi Agusto (@bunmiagusto), the issue returns to these histories and carries them forward, drawing clear lines to the current outstanding generation of Nigerian and British-Nigerian creatives working across music, fashion, art and food.

Featuring Osei Bonsu (@oseibonsu_), Mowalola (@mowalola), Yusuf Grillo, Adejoké Bakare (@jokebakare), Iré Hassan-Odukale (@ireoluwaho), Obongjayar (@obongjayar) and more, this issue traces key sites and movements, from Oshogbo to Zaria and Nsukka.

Credits:
Editor-in-Chief: Seni Saraki
Guest Editor: Bunmi Agusto (@bunmiagusto)
Co-Editor: Momo Hassan-Odukale (@momo.mho)

Cover image credit: “Portrait of a Young Boy”, 1954, by Ben Enwonwu, courtesy of The Ben Enwonwu Foundation

Native Mag x Tate present: A Very Special Nigerian Modernism Issue 🇳🇬

Centred on the ongoing Nigerian Modernism exhibition, this issue turns to a generation of artists who, spanning the final years of colonial rule and the early days of independence, developed a distinct visual language that expressed cultural identity and intellectual freedom.

Guest edited by Bunmi Agusto (@bunmiagusto), the issue returns to these histories and carries them forward, drawing clear lines to the current outstanding generation of Nigerian and British-Nigerian creatives working across music, fashion, art and food.

Featuring Osei Bonsu (@oseibonsu_), Mowalola (@mowalola), Yusuf Grillo, Adejoké Bakare (@jokebakare), Iré Hassan-Odukale (@ireoluwaho), Obongjayar (@obongjayar) and more, this issue traces key sites and movements, from Oshogbo to Zaria and Nsukka.

Credits:
Editor-in-Chief: Seni Saraki
Guest Editor: Bunmi Agusto (@bunmiagusto)
Co-Editor: Momo Hassan-Odukale (@momo.mho)

Cover image credit: “Portrait of a Young Boy”, 1954, by Ben Enwonwu, courtesy of The Ben Enwonwu Foundation

Native Mag x Tate present: A Very Special Nigerian Modernism Issue 🇳🇬

Centred on the ongoing Nigerian Modernism exhibition, this issue turns to a generation of artists who, spanning the final years of colonial rule and the early days of independence, developed a distinct visual language that expressed cultural identity and intellectual freedom.

Guest edited by Bunmi Agusto (@bunmiagusto), the issue returns to these histories and carries them forward, drawing clear lines to the current outstanding generation of Nigerian and British-Nigerian creatives working across music, fashion, art and food.

Featuring Osei Bonsu (@oseibonsu_), Mowalola (@mowalola), Yusuf Grillo, Adejoké Bakare (@jokebakare), Iré Hassan-Odukale (@ireoluwaho), Obongjayar (@obongjayar) and more, this issue traces key sites and movements, from Oshogbo to Zaria and Nsukka.

Credits:
Editor-in-Chief: Seni Saraki
Guest Editor: Bunmi Agusto (@bunmiagusto)
Co-Editor: Momo Hassan-Odukale (@momo.mho)

Cover image credit: “Portrait of a Young Boy”, 1954, by Ben Enwonwu, courtesy of The Ben Enwonwu Foundation

Native Mag x Tate present: A Very Special Nigerian Modernism Issue 🇳🇬

Centred on the ongoing Nigerian Modernism exhibition, this issue turns to a generation of artists who, spanning the final years of colonial rule and the early days of independence, developed a distinct visual language that expressed cultural identity and intellectual freedom.

Guest edited by Bunmi Agusto (@bunmiagusto), the issue returns to these histories and carries them forward, drawing clear lines to the current outstanding generation of Nigerian and British-Nigerian creatives working across music, fashion, art and food.

Featuring Osei Bonsu (@oseibonsu_), Mowalola (@mowalola), Yusuf Grillo, Adejoké Bakare (@jokebakare), Iré Hassan-Odukale (@ireoluwaho), Obongjayar (@obongjayar) and more, this issue traces key sites and movements, from Oshogbo to Zaria and Nsukka.

Credits:
Editor-in-Chief: Seni Saraki
Guest Editor: Bunmi Agusto (@bunmiagusto)
Co-Editor: Momo Hassan-Odukale (@momo.mho)

Cover image credit: “Portrait of a Young Boy”, 1954, by Ben Enwonwu, courtesy of The Ben Enwonwu Foundation

Native Mag x Tate present: A Very Special Nigerian Modernism Issue 🇳🇬

Centred on the ongoing Nigerian Modernism exhibition, this issue turns to a generation of artists who, spanning the final years of colonial rule and the early days of independence, developed a distinct visual language that expressed cultural identity and intellectual freedom.

Guest edited by Bunmi Agusto (@bunmiagusto), the issue returns to these histories and carries them forward, drawing clear lines to the current outstanding generation of Nigerian and British-Nigerian creatives working across music, fashion, art and food.

Featuring Osei Bonsu (@oseibonsu_), Mowalola (@mowalola), Yusuf Grillo, Adejoké Bakare (@jokebakare), Iré Hassan-Odukale (@ireoluwaho), Obongjayar (@obongjayar) and more, this issue traces key sites and movements, from Oshogbo to Zaria and Nsukka.

Credits:
Editor-in-Chief: Seni Saraki
Guest Editor: Bunmi Agusto (@bunmiagusto)
Co-Editor: Momo Hassan-Odukale (@momo.mho)

Cover image credit: “Portrait of a Young Boy”, 1954, by Ben Enwonwu, courtesy of The Ben Enwonwu Foundation

Native Mag x Tate present: A Very Special Nigerian Modernism Issue 🇳🇬

Centred on the ongoing Nigerian Modernism exhibition, this issue turns to a generation of artists who, spanning the final years of colonial rule and the early days of independence, developed a distinct visual language that expressed cultural identity and intellectual freedom.

Guest edited by Bunmi Agusto (@bunmiagusto), the issue returns to these histories and carries them forward, drawing clear lines to the current outstanding generation of Nigerian and British-Nigerian creatives working across music, fashion, art and food.

Featuring Osei Bonsu (@oseibonsu_), Mowalola (@mowalola), Yusuf Grillo, Adejoké Bakare (@jokebakare), Iré Hassan-Odukale (@ireoluwaho), Obongjayar (@obongjayar) and more, this issue traces key sites and movements, from Oshogbo to Zaria and Nsukka.

Credits:
Editor-in-Chief: Seni Saraki
Guest Editor: Bunmi Agusto (@bunmiagusto)
Co-Editor: Momo Hassan-Odukale (@momo.mho)

Cover image credit: “Portrait of a Young Boy”, 1954, by Ben Enwonwu, courtesy of The Ben Enwonwu Foundation

Native Mag x Tate present: A Very Special Nigerian Modernism Issue 🇳🇬

Centred on the ongoing Nigerian Modernism exhibition, this issue turns to a generation of artists who, spanning the final years of colonial rule and the early days of independence, developed a distinct visual language that expressed cultural identity and intellectual freedom.

Guest edited by Bunmi Agusto (@bunmiagusto), the issue returns to these histories and carries them forward, drawing clear lines to the current outstanding generation of Nigerian and British-Nigerian creatives working across music, fashion, art and food.

Featuring Osei Bonsu (@oseibonsu_), Mowalola (@mowalola), Yusuf Grillo, Adejoké Bakare (@jokebakare), Iré Hassan-Odukale (@ireoluwaho), Obongjayar (@obongjayar) and more, this issue traces key sites and movements, from Oshogbo to Zaria and Nsukka.

Credits:
Editor-in-Chief: Seni Saraki
Guest Editor: Bunmi Agusto (@bunmiagusto)
Co-Editor: Momo Hassan-Odukale (@momo.mho)

Cover image credit: “Portrait of a Young Boy”, 1954, by Ben Enwonwu, courtesy of The Ben Enwonwu Foundation

Native Mag x Tate present: A Very Special Nigerian Modernism Issue 🇳🇬

Centred on the ongoing Nigerian Modernism exhibition, this issue turns to a generation of artists who, spanning the final years of colonial rule and the early days of independence, developed a distinct visual language that expressed cultural identity and intellectual freedom.

Guest edited by Bunmi Agusto (@bunmiagusto), the issue returns to these histories and carries them forward, drawing clear lines to the current outstanding generation of Nigerian and British-Nigerian creatives working across music, fashion, art and food.

Featuring Osei Bonsu (@oseibonsu_), Mowalola (@mowalola), Yusuf Grillo, Adejoké Bakare (@jokebakare), Iré Hassan-Odukale (@ireoluwaho), Obongjayar (@obongjayar) and more, this issue traces key sites and movements, from Oshogbo to Zaria and Nsukka.

Credits:
Editor-in-Chief: Seni Saraki
Guest Editor: Bunmi Agusto (@bunmiagusto)
Co-Editor: Momo Hassan-Odukale (@momo.mho)

Cover image credit: “Portrait of a Young Boy”, 1954, by Ben Enwonwu, courtesy of The Ben Enwonwu Foundation

Native Mag x Tate present: A Very Special Nigerian Modernism Issue 🇳🇬

Centred on the ongoing Nigerian Modernism exhibition, this issue turns to a generation of artists who, spanning the final years of colonial rule and the early days of independence, developed a distinct visual language that expressed cultural identity and intellectual freedom.

Guest edited by Bunmi Agusto (@bunmiagusto), the issue returns to these histories and carries them forward, drawing clear lines to the current outstanding generation of Nigerian and British-Nigerian creatives working across music, fashion, art and food.

Featuring Osei Bonsu (@oseibonsu_), Mowalola (@mowalola), Yusuf Grillo, Adejoké Bakare (@jokebakare), Iré Hassan-Odukale (@ireoluwaho), Obongjayar (@obongjayar) and more, this issue traces key sites and movements, from Oshogbo to Zaria and Nsukka.

Credits:
Editor-in-Chief: Seni Saraki
Guest Editor: Bunmi Agusto (@bunmiagusto)
Co-Editor: Momo Hassan-Odukale (@momo.mho)

Cover image credit: “Portrait of a Young Boy”, 1954, by Ben Enwonwu, courtesy of The Ben Enwonwu Foundation

Native Mag x Tate present: A Very Special Nigerian Modernism Issue 🇳🇬

Centred on the ongoing Nigerian Modernism exhibition, this issue turns to a generation of artists who, spanning the final years of colonial rule and the early days of independence, developed a distinct visual language that expressed cultural identity and intellectual freedom.

Guest edited by Bunmi Agusto (@bunmiagusto), the issue returns to these histories and carries them forward, drawing clear lines to the current outstanding generation of Nigerian and British-Nigerian creatives working across music, fashion, art and food.

Featuring Osei Bonsu (@oseibonsu_), Mowalola (@mowalola), Yusuf Grillo, Adejoké Bakare (@jokebakare), Iré Hassan-Odukale (@ireoluwaho), Obongjayar (@obongjayar) and more, this issue traces key sites and movements, from Oshogbo to Zaria and Nsukka.

Credits:
Editor-in-Chief: Seni Saraki
Guest Editor: Bunmi Agusto (@bunmiagusto)
Co-Editor: Momo Hassan-Odukale (@momo.mho)

Cover image credit: “Portrait of a Young Boy”, 1954, by Ben Enwonwu, courtesy of The Ben Enwonwu Foundation

Native Mag x Tate present: A Very Special Nigerian Modernism Issue 🇳🇬

Centred on the ongoing Nigerian Modernism exhibition, this issue turns to a generation of artists who, spanning the final years of colonial rule and the early days of independence, developed a distinct visual language that expressed cultural identity and intellectual freedom.

Guest edited by Bunmi Agusto (@bunmiagusto), the issue returns to these histories and carries them forward, drawing clear lines to the current outstanding generation of Nigerian and British-Nigerian creatives working across music, fashion, art and food.

Featuring Osei Bonsu (@oseibonsu_), Mowalola (@mowalola), Yusuf Grillo, Adejoké Bakare (@jokebakare), Iré Hassan-Odukale (@ireoluwaho), Obongjayar (@obongjayar) and more, this issue traces key sites and movements, from Oshogbo to Zaria and Nsukka.

Credits:
Editor-in-Chief: Seni Saraki
Guest Editor: Bunmi Agusto (@bunmiagusto)
Co-Editor: Momo Hassan-Odukale (@momo.mho)

Cover image credit: “Portrait of a Young Boy”, 1954, by Ben Enwonwu, courtesy of The Ben Enwonwu Foundation

Native Mag x Tate present: A Very Special Nigerian Modernism Issue 🇳🇬

Centred on the ongoing Nigerian Modernism exhibition, this issue turns to a generation of artists who, spanning the final years of colonial rule and the early days of independence, developed a distinct visual language that expressed cultural identity and intellectual freedom.

Guest edited by Bunmi Agusto (@bunmiagusto), the issue returns to these histories and carries them forward, drawing clear lines to the current outstanding generation of Nigerian and British-Nigerian creatives working across music, fashion, art and food.

Featuring Osei Bonsu (@oseibonsu_), Mowalola (@mowalola), Yusuf Grillo, Adejoké Bakare (@jokebakare), Iré Hassan-Odukale (@ireoluwaho), Obongjayar (@obongjayar) and more, this issue traces key sites and movements, from Oshogbo to Zaria and Nsukka.

Credits:
Editor-in-Chief: Seni Saraki
Guest Editor: Bunmi Agusto (@bunmiagusto)
Co-Editor: Momo Hassan-Odukale (@momo.mho)

Cover image credit: “Portrait of a Young Boy”, 1954, by Ben Enwonwu, courtesy of The Ben Enwonwu Foundation

Native Mag x Tate present: A Very Special Nigerian Modernism Issue 🇳🇬

Centred on the ongoing Nigerian Modernism exhibition, this issue turns to a generation of artists who, spanning the final years of colonial rule and the early days of independence, developed a distinct visual language that expressed cultural identity and intellectual freedom.

Guest edited by Bunmi Agusto (@bunmiagusto), the issue returns to these histories and carries them forward, drawing clear lines to the current outstanding generation of Nigerian and British-Nigerian creatives working across music, fashion, art and food.

Featuring Osei Bonsu (@oseibonsu_), Mowalola (@mowalola), Yusuf Grillo, Adejoké Bakare (@jokebakare), Iré Hassan-Odukale (@ireoluwaho), Obongjayar (@obongjayar) and more, this issue traces key sites and movements, from Oshogbo to Zaria and Nsukka.

Credits:
Editor-in-Chief: Seni Saraki
Guest Editor: Bunmi Agusto (@bunmiagusto)
Co-Editor: Momo Hassan-Odukale (@momo.mho)

Cover image credit: “Portrait of a Young Boy”, 1954, by Ben Enwonwu, courtesy of The Ben Enwonwu Foundation

Native Mag x Tate present: A Very Special Nigerian Modernism Issue 🇳🇬

Centred on the ongoing Nigerian Modernism exhibition, this issue turns to a generation of artists who, spanning the final years of colonial rule and the early days of independence, developed a distinct visual language that expressed cultural identity and intellectual freedom.

Guest edited by Bunmi Agusto (@bunmiagusto), the issue returns to these histories and carries them forward, drawing clear lines to the current outstanding generation of Nigerian and British-Nigerian creatives working across music, fashion, art and food.

Featuring Osei Bonsu (@oseibonsu_), Mowalola (@mowalola), Yusuf Grillo, Adejoké Bakare (@jokebakare), Iré Hassan-Odukale (@ireoluwaho), Obongjayar (@obongjayar) and more, this issue traces key sites and movements, from Oshogbo to Zaria and Nsukka.

Credits:
Editor-in-Chief: Seni Saraki
Guest Editor: Bunmi Agusto (@bunmiagusto)
Co-Editor: Momo Hassan-Odukale (@momo.mho)

Cover image credit: “Portrait of a Young Boy”, 1954, by Ben Enwonwu, courtesy of The Ben Enwonwu Foundation

Native Mag x Tate present: A Very Special Nigerian Modernism Issue 🇳🇬

Centred on the ongoing Nigerian Modernism exhibition, this issue turns to a generation of artists who, spanning the final years of colonial rule and the early days of independence, developed a distinct visual language that expressed cultural identity and intellectual freedom.

Guest edited by Bunmi Agusto (@bunmiagusto), the issue returns to these histories and carries them forward, drawing clear lines to the current outstanding generation of Nigerian and British-Nigerian creatives working across music, fashion, art and food.

Featuring Osei Bonsu (@oseibonsu_), Mowalola (@mowalola), Yusuf Grillo, Adejoké Bakare (@jokebakare), Iré Hassan-Odukale (@ireoluwaho), Obongjayar (@obongjayar) and more, this issue traces key sites and movements, from Oshogbo to Zaria and Nsukka.

Credits:
Editor-in-Chief: Seni Saraki
Guest Editor: Bunmi Agusto (@bunmiagusto)
Co-Editor: Momo Hassan-Odukale (@momo.mho)

Cover image credit: “Portrait of a Young Boy”, 1954, by Ben Enwonwu, courtesy of The Ben Enwonwu Foundation

Welcome to The Disobedient Groove @theodorabosslady

At 22 years old, Theodora is already an icon. One of the most innovative talents of her generation, the French-Congolese artist has created what she calls a “disobedient groove”—a sound and stance rooted in rigorous self-definition.

Ask her who she is, and the answer is simply: “Sexy, Ghetto, Africky et Mal Polie.” The description sums up an artist who refuses to play by the rules, particularly in a cultural landscape that is set up to be difficult for young, black, African women. This is why she is carving out this lane for herself, and the next generation of women

Full story: 🔗in bio.

……………..

Bienvenue dans Le Groove Désobéissante.

À 22 ans, Theodora est déjà une icône. Parmi les talents les plus innovants de sa génération, l’artiste Franco-Congolaise a façonné ce qu’elle appelle une “groove désobéissante”: un son et une attitude nés d’une définition de soi sans compromis.

Demandez-lui qui elle est, et sa réponse est simple : Sexy, Ghetto, Africky et Mal Polie. Cette formule résume une artiste qui refuse de jouer selon les règles, surtout dans un paysage culturel souvent pensé pour compliquer le parcours des jeunes femmes noires Africaines.

C’est précisément pour cela qu’elle trace sa voie, pour elle et pour la prochaine génération de femmes.

Words: Yasmine Mady @Yuusmine

Editor In Chief: Seni Saraki
Photographer & Creative Director: Elliot Hensford @elliothensford
Creative Director : Tj Saw @tj.saw1

Head Of Brand: Damilola Animashaun
Managing Editor: Wale Oloworekende
Head Of Digital: Shina Ladipo
Content Lead: Melony Akpoghene

Production Company: Vanta @vanta.tv
Executive Producer: Emile Sarda @emile.sarda

Director: Aymane Alhamid @onzi8me
Director of photography: Thomas Cazottes @thomas.cazottes

Art Director Mariana Jaguite @marssss_x & Frederick Asseo @frederickasseo

Stylist: Stylist : Janice Mahenge @yanderejan

Makeup Artist: @_swan.a_
Hairstylist: Ushka@oshushka

Cover design: Christiano Fassoli@christianofassoli

Welcome to The Disobedient Groove @theodorabosslady

At 22 years old, Theodora is already an icon. One of the most innovative talents of her generation, the French-Congolese artist has created what she calls a “disobedient groove”—a sound and stance rooted in rigorous self-definition.

Ask her who she is, and the answer is simply: “Sexy, Ghetto, Africky et Mal Polie.” The description sums up an artist who refuses to play by the rules, particularly in a cultural landscape that is set up to be difficult for young, black, African women. This is why she is carving out this lane for herself, and the next generation of women

Full story: 🔗in bio.

……………..

Bienvenue dans Le Groove Désobéissante.

À 22 ans, Theodora est déjà une icône. Parmi les talents les plus innovants de sa génération, l’artiste Franco-Congolaise a façonné ce qu’elle appelle une “groove désobéissante”: un son et une attitude nés d’une définition de soi sans compromis.

Demandez-lui qui elle est, et sa réponse est simple : Sexy, Ghetto, Africky et Mal Polie. Cette formule résume une artiste qui refuse de jouer selon les règles, surtout dans un paysage culturel souvent pensé pour compliquer le parcours des jeunes femmes noires Africaines.

C’est précisément pour cela qu’elle trace sa voie, pour elle et pour la prochaine génération de femmes.

Words: Yasmine Mady @Yuusmine

Editor In Chief: Seni Saraki
Photographer & Creative Director: Elliot Hensford @elliothensford
Creative Director : Tj Saw @tj.saw1

Head Of Brand: Damilola Animashaun
Managing Editor: Wale Oloworekende
Head Of Digital: Shina Ladipo
Content Lead: Melony Akpoghene

Production Company: Vanta @vanta.tv
Executive Producer: Emile Sarda @emile.sarda

Director: Aymane Alhamid @onzi8me
Director of photography: Thomas Cazottes @thomas.cazottes

Art Director Mariana Jaguite @marssss_x & Frederick Asseo @frederickasseo

Stylist: Stylist : Janice Mahenge @yanderejan

Makeup Artist: @_swan.a_
Hairstylist: Ushka@oshushka

Cover design: Christiano Fassoli@christianofassoli

For The NATIVE’s long awaited return to print, we sat down with next great British-Nigerian Soul superstar, @iamodeal.

Odeal opens up about his early influences living between Nigeria and the UK, his relentless drive to make music that transcends place and time, and the unshaken confidence he has in the direction he’s moving.

Head to THENATIVEMAG.COM now for the full story

Editor In Chief/Writer: Seni Saraki
Photographer/Creative Director: Elliot Hensford @elliothensford
Creative Director/Producer: Tj Saw @tj.saw1

Head Of Brand: Damilola Animashaun
Managing Editor: Wale Oloworekende
Head Of Digital: Shina Ladipo
Content Lead: Melony Akpoghene

Production Company: Marvellous Last Night @marvellouslastnight
Executive Producer: Max Alan @maxalan._
Production Manager: Anthony Idahosa @ant21ida
Production Coordinator: Isaac Tapiki @isaactapiki

Art Director: Mariana Jaguite @marssss_x
Art Assistant: Frankie Mann @frcscaa
Art Assistant: Poppy Whitehorn @p.whitehornart
Art Assistant: Anthony Hetherstone

Stylist: Elshy Nyagodzi @elshhyy
Stylist Assistant: Yodit Tzegai @yodittzegai

Lighting Tech: George Robson @geornden
Camera Assistant: Otto Saner @ottosaner

Makeup Artist: Racheal Adedigba @touchedbyracheal
Hairstylist: Kreszend Sackey @kreszendsackey

BTS Video: Kevin Oseinho @kevin.oseinho_

Retouch: Nadia Selander @nadiaselander
Post Prod: Econe Lab @econe_lab
Post Prod: Dc Handprints @dc_handprintz

For The NATIVE’s long awaited return to print, we sat down with next great British-Nigerian Soul superstar, @iamodeal.

Odeal opens up about his early influences living between Nigeria and the UK, his relentless drive to make music that transcends place and time, and the unshaken confidence he has in the direction he’s moving.

Head to THENATIVEMAG.COM now for the full story

Editor In Chief/Writer: Seni Saraki
Photographer/Creative Director: Elliot Hensford @elliothensford
Creative Director/Producer: Tj Saw @tj.saw1

Head Of Brand: Damilola Animashaun
Managing Editor: Wale Oloworekende
Head Of Digital: Shina Ladipo
Content Lead: Melony Akpoghene

Production Company: Marvellous Last Night @marvellouslastnight
Executive Producer: Max Alan @maxalan._
Production Manager: Anthony Idahosa @ant21ida
Production Coordinator: Isaac Tapiki @isaactapiki

Art Director: Mariana Jaguite @marssss_x
Art Assistant: Frankie Mann @frcscaa
Art Assistant: Poppy Whitehorn @p.whitehornart
Art Assistant: Anthony Hetherstone

Stylist: Elshy Nyagodzi @elshhyy
Stylist Assistant: Yodit Tzegai @yodittzegai

Lighting Tech: George Robson @geornden
Camera Assistant: Otto Saner @ottosaner

Makeup Artist: Racheal Adedigba @touchedbyracheal
Hairstylist: Kreszend Sackey @kreszendsackey

BTS Video: Kevin Oseinho @kevin.oseinho_

Retouch: Nadia Selander @nadiaselander
Post Prod: Econe Lab @econe_lab
Post Prod: Dc Handprints @dc_handprintz

For The NATIVE’s long awaited return to print, we sat down with next great British-Nigerian Soul superstar, @iamodeal.

Odeal opens up about his early influences living between Nigeria and the UK, his relentless drive to make music that transcends place and time, and the unshaken confidence he has in the direction he’s moving.

Head to THENATIVEMAG.COM now for the full story

Editor In Chief/Writer: Seni Saraki
Photographer/Creative Director: Elliot Hensford @elliothensford
Creative Director/Producer: Tj Saw @tj.saw1

Head Of Brand: Damilola Animashaun
Managing Editor: Wale Oloworekende
Head Of Digital: Shina Ladipo
Content Lead: Melony Akpoghene

Production Company: Marvellous Last Night @marvellouslastnight
Executive Producer: Max Alan @maxalan._
Production Manager: Anthony Idahosa @ant21ida
Production Coordinator: Isaac Tapiki @isaactapiki

Art Director: Mariana Jaguite @marssss_x
Art Assistant: Frankie Mann @frcscaa
Art Assistant: Poppy Whitehorn @p.whitehornart
Art Assistant: Anthony Hetherstone

Stylist: Elshy Nyagodzi @elshhyy
Stylist Assistant: Yodit Tzegai @yodittzegai

Lighting Tech: George Robson @geornden
Camera Assistant: Otto Saner @ottosaner

Makeup Artist: Racheal Adedigba @touchedbyracheal
Hairstylist: Kreszend Sackey @kreszendsackey

BTS Video: Kevin Oseinho @kevin.oseinho_

Retouch: Nadia Selander @nadiaselander
Post Prod: Econe Lab @econe_lab
Post Prod: Dc Handprints @dc_handprintz

For The NATIVE’s long awaited return to print, we sat down with next great British-Nigerian Soul superstar, @iamodeal.

Odeal opens up about his early influences living between Nigeria and the UK, his relentless drive to make music that transcends place and time, and the unshaken confidence he has in the direction he’s moving.

Head to THENATIVEMAG.COM now for the full story

Editor In Chief/Writer: Seni Saraki
Photographer/Creative Director: Elliot Hensford @elliothensford
Creative Director/Producer: Tj Saw @tj.saw1

Head Of Brand: Damilola Animashaun
Managing Editor: Wale Oloworekende
Head Of Digital: Shina Ladipo
Content Lead: Melony Akpoghene

Production Company: Marvellous Last Night @marvellouslastnight
Executive Producer: Max Alan @maxalan._
Production Manager: Anthony Idahosa @ant21ida
Production Coordinator: Isaac Tapiki @isaactapiki

Art Director: Mariana Jaguite @marssss_x
Art Assistant: Frankie Mann @frcscaa
Art Assistant: Poppy Whitehorn @p.whitehornart
Art Assistant: Anthony Hetherstone

Stylist: Elshy Nyagodzi @elshhyy
Stylist Assistant: Yodit Tzegai @yodittzegai

Lighting Tech: George Robson @geornden
Camera Assistant: Otto Saner @ottosaner

Makeup Artist: Racheal Adedigba @touchedbyracheal
Hairstylist: Kreszend Sackey @kreszendsackey

BTS Video: Kevin Oseinho @kevin.oseinho_

Retouch: Nadia Selander @nadiaselander
Post Prod: Econe Lab @econe_lab
Post Prod: Dc Handprints @dc_handprintz

For The NATIVE’s long awaited return to print, we sat down with next great British-Nigerian Soul superstar, @iamodeal.

Odeal opens up about his early influences living between Nigeria and the UK, his relentless drive to make music that transcends place and time, and the unshaken confidence he has in the direction he’s moving.

Head to THENATIVEMAG.COM now for the full story

Editor In Chief/Writer: Seni Saraki
Photographer/Creative Director: Elliot Hensford @elliothensford
Creative Director/Producer: Tj Saw @tj.saw1

Head Of Brand: Damilola Animashaun
Managing Editor: Wale Oloworekende
Head Of Digital: Shina Ladipo
Content Lead: Melony Akpoghene

Production Company: Marvellous Last Night @marvellouslastnight
Executive Producer: Max Alan @maxalan._
Production Manager: Anthony Idahosa @ant21ida
Production Coordinator: Isaac Tapiki @isaactapiki

Art Director: Mariana Jaguite @marssss_x
Art Assistant: Frankie Mann @frcscaa
Art Assistant: Poppy Whitehorn @p.whitehornart
Art Assistant: Anthony Hetherstone

Stylist: Elshy Nyagodzi @elshhyy
Stylist Assistant: Yodit Tzegai @yodittzegai

Lighting Tech: George Robson @geornden
Camera Assistant: Otto Saner @ottosaner

Makeup Artist: Racheal Adedigba @touchedbyracheal
Hairstylist: Kreszend Sackey @kreszendsackey

BTS Video: Kevin Oseinho @kevin.oseinho_

Retouch: Nadia Selander @nadiaselander
Post Prod: Econe Lab @econe_lab
Post Prod: Dc Handprints @dc_handprintz

For The NATIVE’s long awaited return to print, we sat down with next great British-Nigerian Soul superstar, @iamodeal.

Odeal opens up about his early influences living between Nigeria and the UK, his relentless drive to make music that transcends place and time, and the unshaken confidence he has in the direction he’s moving.

Head to THENATIVEMAG.COM now for the full story

Editor In Chief/Writer: Seni Saraki
Photographer/Creative Director: Elliot Hensford @elliothensford
Creative Director/Producer: Tj Saw @tj.saw1

Head Of Brand: Damilola Animashaun
Managing Editor: Wale Oloworekende
Head Of Digital: Shina Ladipo
Content Lead: Melony Akpoghene

Production Company: Marvellous Last Night @marvellouslastnight
Executive Producer: Max Alan @maxalan._
Production Manager: Anthony Idahosa @ant21ida
Production Coordinator: Isaac Tapiki @isaactapiki

Art Director: Mariana Jaguite @marssss_x
Art Assistant: Frankie Mann @frcscaa
Art Assistant: Poppy Whitehorn @p.whitehornart
Art Assistant: Anthony Hetherstone

Stylist: Elshy Nyagodzi @elshhyy
Stylist Assistant: Yodit Tzegai @yodittzegai

Lighting Tech: George Robson @geornden
Camera Assistant: Otto Saner @ottosaner

Makeup Artist: Racheal Adedigba @touchedbyracheal
Hairstylist: Kreszend Sackey @kreszendsackey

BTS Video: Kevin Oseinho @kevin.oseinho_

Retouch: Nadia Selander @nadiaselander
Post Prod: Econe Lab @econe_lab
Post Prod: Dc Handprints @dc_handprintz

For The NATIVE’s long awaited return to print, we sat down with next great British-Nigerian Soul superstar, @iamodeal.

Odeal opens up about his early influences living between Nigeria and the UK, his relentless drive to make music that transcends place and time, and the unshaken confidence he has in the direction he’s moving.

Head to THENATIVEMAG.COM now for the full story

Editor In Chief/Writer: Seni Saraki
Photographer/Creative Director: Elliot Hensford @elliothensford
Creative Director/Producer: Tj Saw @tj.saw1

Head Of Brand: Damilola Animashaun
Managing Editor: Wale Oloworekende
Head Of Digital: Shina Ladipo
Content Lead: Melony Akpoghene

Production Company: Marvellous Last Night @marvellouslastnight
Executive Producer: Max Alan @maxalan._
Production Manager: Anthony Idahosa @ant21ida
Production Coordinator: Isaac Tapiki @isaactapiki

Art Director: Mariana Jaguite @marssss_x
Art Assistant: Frankie Mann @frcscaa
Art Assistant: Poppy Whitehorn @p.whitehornart
Art Assistant: Anthony Hetherstone

Stylist: Elshy Nyagodzi @elshhyy
Stylist Assistant: Yodit Tzegai @yodittzegai

Lighting Tech: George Robson @geornden
Camera Assistant: Otto Saner @ottosaner

Makeup Artist: Racheal Adedigba @touchedbyracheal
Hairstylist: Kreszend Sackey @kreszendsackey

BTS Video: Kevin Oseinho @kevin.oseinho_

Retouch: Nadia Selander @nadiaselander
Post Prod: Econe Lab @econe_lab
Post Prod: Dc Handprints @dc_handprintz

Join us at @tatecornerbar on 8 May to celebrate the launch of the NATIVE Magazine x @tate Nigerian Modernism print issue at the Nigerian Modernism closing party, with live music from Mr Manna, Pedro’s Ògógóró cocktails by @valueafrica, and beers from @ekobrewery.

The gallery will stay open late for a final look at the exhibition, with copies of the issue available to browse and purchase.

What’s in a name?

A song title can feel like a small detail until a striking one grabs your attention.

Tracks like @ladydonli’s “Thunderstorm in Surulere,” @bloody__civ’s “How To Kill A Man,” @jim_legxacy’s “i just banged a snus in canada water,” show how artists give their songs personality right from the title, shaping expectations before the music even plays.

What’s in a name?

A song title can feel like a small detail until a striking one grabs your attention.

Tracks like @ladydonli’s “Thunderstorm in Surulere,” @bloody__civ’s “How To Kill A Man,” @jim_legxacy’s “i just banged a snus in canada water,” show how artists give their songs personality right from the title, shaping expectations before the music even plays.

What’s in a name?

A song title can feel like a small detail until a striking one grabs your attention.

Tracks like @ladydonli’s “Thunderstorm in Surulere,” @bloody__civ’s “How To Kill A Man,” @jim_legxacy’s “i just banged a snus in canada water,” show how artists give their songs personality right from the title, shaping expectations before the music even plays.

What’s in a name?

A song title can feel like a small detail until a striking one grabs your attention.

Tracks like @ladydonli’s “Thunderstorm in Surulere,” @bloody__civ’s “How To Kill A Man,” @jim_legxacy’s “i just banged a snus in canada water,” show how artists give their songs personality right from the title, shaping expectations before the music even plays.

What’s in a name?

A song title can feel like a small detail until a striking one grabs your attention.

Tracks like @ladydonli’s “Thunderstorm in Surulere,” @bloody__civ’s “How To Kill A Man,” @jim_legxacy’s “i just banged a snus in canada water,” show how artists give their songs personality right from the title, shaping expectations before the music even plays.

What’s in a name?

A song title can feel like a small detail until a striking one grabs your attention.

Tracks like @ladydonli’s “Thunderstorm in Surulere,” @bloody__civ’s “How To Kill A Man,” @jim_legxacy’s “i just banged a snus in canada water,” show how artists give their songs personality right from the title, shaping expectations before the music even plays.

What’s in a name?

A song title can feel like a small detail until a striking one grabs your attention.

Tracks like @ladydonli’s “Thunderstorm in Surulere,” @bloody__civ’s “How To Kill A Man,” @jim_legxacy’s “i just banged a snus in canada water,” show how artists give their songs personality right from the title, shaping expectations before the music even plays.

What’s in a name?

A song title can feel like a small detail until a striking one grabs your attention.

Tracks like @ladydonli’s “Thunderstorm in Surulere,” @bloody__civ’s “How To Kill A Man,” @jim_legxacy’s “i just banged a snus in canada water,” show how artists give their songs personality right from the title, shaping expectations before the music even plays.

What’s in a name?

A song title can feel like a small detail until a striking one grabs your attention.

Tracks like @ladydonli’s “Thunderstorm in Surulere,” @bloody__civ’s “How To Kill A Man,” @jim_legxacy’s “i just banged a snus in canada water,” show how artists give their songs personality right from the title, shaping expectations before the music even plays.

What’s in a name?

A song title can feel like a small detail until a striking one grabs your attention.

Tracks like @ladydonli’s “Thunderstorm in Surulere,” @bloody__civ’s “How To Kill A Man,” @jim_legxacy’s “i just banged a snus in canada water,” show how artists give their songs personality right from the title, shaping expectations before the music even plays.

What’s in a name?

A song title can feel like a small detail until a striking one grabs your attention.

Tracks like @ladydonli’s “Thunderstorm in Surulere,” @bloody__civ’s “How To Kill A Man,” @jim_legxacy’s “i just banged a snus in canada water,” show how artists give their songs personality right from the title, shaping expectations before the music even plays.

“The core concept of the project is the freedom you feel in the night… No one is judging you. You can come outside, you can dance, you can laugh, you can express yourself, you can feel.” - @streimusic

Strei grew up drawn to Rock, Hop-Hip and Soul. Influenced by XXXTentacion and Juice WRLD, he blended these influences with Afropop, building a following on BandLab before releasing his debut EP, ‘I.T.A.M.’

A year removed from that work, he has released ‘NIGHT,’ a seven-track project which the artist describes as the sound of freedom.

On the project, Strei is fluid, blending his sing-song flow with an easy bounce that shows that he’s in full control of his sonic direction.

Swipe. 👉🏽

“The core concept of the project is the freedom you feel in the night… No one is judging you. You can come outside, you can dance, you can laugh, you can express yourself, you can feel.” - @streimusic

Strei grew up drawn to Rock, Hop-Hip and Soul. Influenced by XXXTentacion and Juice WRLD, he blended these influences with Afropop, building a following on BandLab before releasing his debut EP, ‘I.T.A.M.’

A year removed from that work, he has released ‘NIGHT,’ a seven-track project which the artist describes as the sound of freedom.

On the project, Strei is fluid, blending his sing-song flow with an easy bounce that shows that he’s in full control of his sonic direction.

Swipe. 👉🏽

“The core concept of the project is the freedom you feel in the night… No one is judging you. You can come outside, you can dance, you can laugh, you can express yourself, you can feel.” - @streimusic

Strei grew up drawn to Rock, Hop-Hip and Soul. Influenced by XXXTentacion and Juice WRLD, he blended these influences with Afropop, building a following on BandLab before releasing his debut EP, ‘I.T.A.M.’

A year removed from that work, he has released ‘NIGHT,’ a seven-track project which the artist describes as the sound of freedom.

On the project, Strei is fluid, blending his sing-song flow with an easy bounce that shows that he’s in full control of his sonic direction.

Swipe. 👉🏽

“The core concept of the project is the freedom you feel in the night… No one is judging you. You can come outside, you can dance, you can laugh, you can express yourself, you can feel.” - @streimusic

Strei grew up drawn to Rock, Hop-Hip and Soul. Influenced by XXXTentacion and Juice WRLD, he blended these influences with Afropop, building a following on BandLab before releasing his debut EP, ‘I.T.A.M.’

A year removed from that work, he has released ‘NIGHT,’ a seven-track project which the artist describes as the sound of freedom.

On the project, Strei is fluid, blending his sing-song flow with an easy bounce that shows that he’s in full control of his sonic direction.

Swipe. 👉🏽

“The core concept of the project is the freedom you feel in the night… No one is judging you. You can come outside, you can dance, you can laugh, you can express yourself, you can feel.” - @streimusic

Strei grew up drawn to Rock, Hop-Hip and Soul. Influenced by XXXTentacion and Juice WRLD, he blended these influences with Afropop, building a following on BandLab before releasing his debut EP, ‘I.T.A.M.’

A year removed from that work, he has released ‘NIGHT,’ a seven-track project which the artist describes as the sound of freedom.

On the project, Strei is fluid, blending his sing-song flow with an easy bounce that shows that he’s in full control of his sonic direction.

Swipe. 👉🏽

“The core concept of the project is the freedom you feel in the night… No one is judging you. You can come outside, you can dance, you can laugh, you can express yourself, you can feel.” - @streimusic

Strei grew up drawn to Rock, Hop-Hip and Soul. Influenced by XXXTentacion and Juice WRLD, he blended these influences with Afropop, building a following on BandLab before releasing his debut EP, ‘I.T.A.M.’

A year removed from that work, he has released ‘NIGHT,’ a seven-track project which the artist describes as the sound of freedom.

On the project, Strei is fluid, blending his sing-song flow with an easy bounce that shows that he’s in full control of his sonic direction.

Swipe. 👉🏽

“The core concept of the project is the freedom you feel in the night… No one is judging you. You can come outside, you can dance, you can laugh, you can express yourself, you can feel.” - @streimusic

Strei grew up drawn to Rock, Hop-Hip and Soul. Influenced by XXXTentacion and Juice WRLD, he blended these influences with Afropop, building a following on BandLab before releasing his debut EP, ‘I.T.A.M.’

A year removed from that work, he has released ‘NIGHT,’ a seven-track project which the artist describes as the sound of freedom.

On the project, Strei is fluid, blending his sing-song flow with an easy bounce that shows that he’s in full control of his sonic direction.

Swipe. 👉🏽

“The core concept of the project is the freedom you feel in the night… No one is judging you. You can come outside, you can dance, you can laugh, you can express yourself, you can feel.” - @streimusic

Strei grew up drawn to Rock, Hop-Hip and Soul. Influenced by XXXTentacion and Juice WRLD, he blended these influences with Afropop, building a following on BandLab before releasing his debut EP, ‘I.T.A.M.’

A year removed from that work, he has released ‘NIGHT,’ a seven-track project which the artist describes as the sound of freedom.

On the project, Strei is fluid, blending his sing-song flow with an easy bounce that shows that he’s in full control of his sonic direction.

Swipe. 👉🏽

“The core concept of the project is the freedom you feel in the night… No one is judging you. You can come outside, you can dance, you can laugh, you can express yourself, you can feel.” - @streimusic

Strei grew up drawn to Rock, Hop-Hip and Soul. Influenced by XXXTentacion and Juice WRLD, he blended these influences with Afropop, building a following on BandLab before releasing his debut EP, ‘I.T.A.M.’

A year removed from that work, he has released ‘NIGHT,’ a seven-track project which the artist describes as the sound of freedom.

On the project, Strei is fluid, blending his sing-song flow with an easy bounce that shows that he’s in full control of his sonic direction.

Swipe. 👉🏽

“The core concept of the project is the freedom you feel in the night… No one is judging you. You can come outside, you can dance, you can laugh, you can express yourself, you can feel.” - @streimusic

Strei grew up drawn to Rock, Hop-Hip and Soul. Influenced by XXXTentacion and Juice WRLD, he blended these influences with Afropop, building a following on BandLab before releasing his debut EP, ‘I.T.A.M.’

A year removed from that work, he has released ‘NIGHT,’ a seven-track project which the artist describes as the sound of freedom.

On the project, Strei is fluid, blending his sing-song flow with an easy bounce that shows that he’s in full control of his sonic direction.

Swipe. 👉🏽

@3cbeta is one of the most active producers rn.

As the Nigerian music scene opens up to more experimental sounds, he’s providing a widely imaginative style that allows artists to actually take risks.

With production credits on tracks like @luwa.mp4’s “CYK BADDIE” and @igweaka’s “Egonomics,” along with a bunch of other standout releases, he’s become an active member of the community, holding his own alongside the names currently breaking new ground.

@3cbeta is one of the most active producers rn.

As the Nigerian music scene opens up to more experimental sounds, he’s providing a widely imaginative style that allows artists to actually take risks.

With production credits on tracks like @luwa.mp4’s “CYK BADDIE” and @igweaka’s “Egonomics,” along with a bunch of other standout releases, he’s become an active member of the community, holding his own alongside the names currently breaking new ground.

@3cbeta is one of the most active producers rn.

As the Nigerian music scene opens up to more experimental sounds, he’s providing a widely imaginative style that allows artists to actually take risks.

With production credits on tracks like @luwa.mp4’s “CYK BADDIE” and @igweaka’s “Egonomics,” along with a bunch of other standout releases, he’s become an active member of the community, holding his own alongside the names currently breaking new ground.

@3cbeta is one of the most active producers rn.

As the Nigerian music scene opens up to more experimental sounds, he’s providing a widely imaginative style that allows artists to actually take risks.

With production credits on tracks like @luwa.mp4’s “CYK BADDIE” and @igweaka’s “Egonomics,” along with a bunch of other standout releases, he’s become an active member of the community, holding his own alongside the names currently breaking new ground.

@3cbeta is one of the most active producers rn.

As the Nigerian music scene opens up to more experimental sounds, he’s providing a widely imaginative style that allows artists to actually take risks.

With production credits on tracks like @luwa.mp4’s “CYK BADDIE” and @igweaka’s “Egonomics,” along with a bunch of other standout releases, he’s become an active member of the community, holding his own alongside the names currently breaking new ground.

@3cbeta is one of the most active producers rn.

As the Nigerian music scene opens up to more experimental sounds, he’s providing a widely imaginative style that allows artists to actually take risks.

With production credits on tracks like @luwa.mp4’s “CYK BADDIE” and @igweaka’s “Egonomics,” along with a bunch of other standout releases, he’s become an active member of the community, holding his own alongside the names currently breaking new ground.

@3cbeta is one of the most active producers rn.

As the Nigerian music scene opens up to more experimental sounds, he’s providing a widely imaginative style that allows artists to actually take risks.

With production credits on tracks like @luwa.mp4’s “CYK BADDIE” and @igweaka’s “Egonomics,” along with a bunch of other standout releases, he’s become an active member of the community, holding his own alongside the names currently breaking new ground.

@3cbeta is one of the most active producers rn.

As the Nigerian music scene opens up to more experimental sounds, he’s providing a widely imaginative style that allows artists to actually take risks.

With production credits on tracks like @luwa.mp4’s “CYK BADDIE” and @igweaka’s “Egonomics,” along with a bunch of other standout releases, he’s become an active member of the community, holding his own alongside the names currently breaking new ground.

@mrmoney is an unapologetic Yoruba man, and at no time has he made that clearer than now.

Since his 2022 breakout, he’s been clear that Yoruba is at the very core of who he is, translating this intrinsic part of his identity into his artistry: the coded street wisdom, the ‘lamba’, and, most importantly, his deep understanding of Yoruba music.

Now, at peak global visibility, he’s been more intentional about leaning all the way in. From speaking primarily Yoruba in interviews to weaving more of the language into his latest album, ‘M$ney’, he no longer appears eager to meet the world halfway.

Swipe for the full story.

✍️: @tillyofourtime

@mrmoney is an unapologetic Yoruba man, and at no time has he made that clearer than now.

Since his 2022 breakout, he’s been clear that Yoruba is at the very core of who he is, translating this intrinsic part of his identity into his artistry: the coded street wisdom, the ‘lamba’, and, most importantly, his deep understanding of Yoruba music.

Now, at peak global visibility, he’s been more intentional about leaning all the way in. From speaking primarily Yoruba in interviews to weaving more of the language into his latest album, ‘M$ney’, he no longer appears eager to meet the world halfway.

Swipe for the full story.

✍️: @tillyofourtime

@mrmoney is an unapologetic Yoruba man, and at no time has he made that clearer than now.

Since his 2022 breakout, he’s been clear that Yoruba is at the very core of who he is, translating this intrinsic part of his identity into his artistry: the coded street wisdom, the ‘lamba’, and, most importantly, his deep understanding of Yoruba music.

Now, at peak global visibility, he’s been more intentional about leaning all the way in. From speaking primarily Yoruba in interviews to weaving more of the language into his latest album, ‘M$ney’, he no longer appears eager to meet the world halfway.

Swipe for the full story.

✍️: @tillyofourtime

@mrmoney is an unapologetic Yoruba man, and at no time has he made that clearer than now.

Since his 2022 breakout, he’s been clear that Yoruba is at the very core of who he is, translating this intrinsic part of his identity into his artistry: the coded street wisdom, the ‘lamba’, and, most importantly, his deep understanding of Yoruba music.

Now, at peak global visibility, he’s been more intentional about leaning all the way in. From speaking primarily Yoruba in interviews to weaving more of the language into his latest album, ‘M$ney’, he no longer appears eager to meet the world halfway.

Swipe for the full story.

✍️: @tillyofourtime

@mrmoney is an unapologetic Yoruba man, and at no time has he made that clearer than now.

Since his 2022 breakout, he’s been clear that Yoruba is at the very core of who he is, translating this intrinsic part of his identity into his artistry: the coded street wisdom, the ‘lamba’, and, most importantly, his deep understanding of Yoruba music.

Now, at peak global visibility, he’s been more intentional about leaning all the way in. From speaking primarily Yoruba in interviews to weaving more of the language into his latest album, ‘M$ney’, he no longer appears eager to meet the world halfway.

Swipe for the full story.

✍️: @tillyofourtime

@mrmoney is an unapologetic Yoruba man, and at no time has he made that clearer than now.

Since his 2022 breakout, he’s been clear that Yoruba is at the very core of who he is, translating this intrinsic part of his identity into his artistry: the coded street wisdom, the ‘lamba’, and, most importantly, his deep understanding of Yoruba music.

Now, at peak global visibility, he’s been more intentional about leaning all the way in. From speaking primarily Yoruba in interviews to weaving more of the language into his latest album, ‘M$ney’, he no longer appears eager to meet the world halfway.

Swipe for the full story.

✍️: @tillyofourtime

@mrmoney is an unapologetic Yoruba man, and at no time has he made that clearer than now.

Since his 2022 breakout, he’s been clear that Yoruba is at the very core of who he is, translating this intrinsic part of his identity into his artistry: the coded street wisdom, the ‘lamba’, and, most importantly, his deep understanding of Yoruba music.

Now, at peak global visibility, he’s been more intentional about leaning all the way in. From speaking primarily Yoruba in interviews to weaving more of the language into his latest album, ‘M$ney’, he no longer appears eager to meet the world halfway.

Swipe for the full story.

✍️: @tillyofourtime

@mrmoney is an unapologetic Yoruba man, and at no time has he made that clearer than now.

Since his 2022 breakout, he’s been clear that Yoruba is at the very core of who he is, translating this intrinsic part of his identity into his artistry: the coded street wisdom, the ‘lamba’, and, most importantly, his deep understanding of Yoruba music.

Now, at peak global visibility, he’s been more intentional about leaning all the way in. From speaking primarily Yoruba in interviews to weaving more of the language into his latest album, ‘M$ney’, he no longer appears eager to meet the world halfway.

Swipe for the full story.

✍️: @tillyofourtime

@mrmoney is an unapologetic Yoruba man, and at no time has he made that clearer than now.

Since his 2022 breakout, he’s been clear that Yoruba is at the very core of who he is, translating this intrinsic part of his identity into his artistry: the coded street wisdom, the ‘lamba’, and, most importantly, his deep understanding of Yoruba music.

Now, at peak global visibility, he’s been more intentional about leaning all the way in. From speaking primarily Yoruba in interviews to weaving more of the language into his latest album, ‘M$ney’, he no longer appears eager to meet the world halfway.

Swipe for the full story.

✍️: @tillyofourtime

@mrmoney is an unapologetic Yoruba man, and at no time has he made that clearer than now.

Since his 2022 breakout, he’s been clear that Yoruba is at the very core of who he is, translating this intrinsic part of his identity into his artistry: the coded street wisdom, the ‘lamba’, and, most importantly, his deep understanding of Yoruba music.

Now, at peak global visibility, he’s been more intentional about leaning all the way in. From speaking primarily Yoruba in interviews to weaving more of the language into his latest album, ‘M$ney’, he no longer appears eager to meet the world halfway.

Swipe for the full story.

✍️: @tillyofourtime

The musical bridge between Anglophone and Francophone Afropop is stronger than ever. Across the continent and throughout the diaspora, artists are increasingly crossing linguistic & regional lines to make music that is both commercially successful and culturally resonant.

Recent collaborations such as @mrmoney and @tiakola on “Badman Gangsta”, @wizkidayo and @tiakola on “Après Minuit”, @joedwetfile and @burnaboygram on “4 Kampe II”, and @heisrema with @yseult on “Wine” reflect this growing synergy. With whispers of a potential collaboration between @ayrastarr and @theodorabosslady also circulating, these two spheres of Afropop are going on this path hand in hand.

The musical bridge between Anglophone and Francophone Afropop is stronger than ever. Across the continent and throughout the diaspora, artists are increasingly crossing linguistic & regional lines to make music that is both commercially successful and culturally resonant.

Recent collaborations such as @mrmoney and @tiakola on “Badman Gangsta”, @wizkidayo and @tiakola on “Après Minuit”, @joedwetfile and @burnaboygram on “4 Kampe II”, and @heisrema with @yseult on “Wine” reflect this growing synergy. With whispers of a potential collaboration between @ayrastarr and @theodorabosslady also circulating, these two spheres of Afropop are going on this path hand in hand.

The musical bridge between Anglophone and Francophone Afropop is stronger than ever. Across the continent and throughout the diaspora, artists are increasingly crossing linguistic & regional lines to make music that is both commercially successful and culturally resonant.

Recent collaborations such as @mrmoney and @tiakola on “Badman Gangsta”, @wizkidayo and @tiakola on “Après Minuit”, @joedwetfile and @burnaboygram on “4 Kampe II”, and @heisrema with @yseult on “Wine” reflect this growing synergy. With whispers of a potential collaboration between @ayrastarr and @theodorabosslady also circulating, these two spheres of Afropop are going on this path hand in hand.

The musical bridge between Anglophone and Francophone Afropop is stronger than ever. Across the continent and throughout the diaspora, artists are increasingly crossing linguistic & regional lines to make music that is both commercially successful and culturally resonant.

Recent collaborations such as @mrmoney and @tiakola on “Badman Gangsta”, @wizkidayo and @tiakola on “Après Minuit”, @joedwetfile and @burnaboygram on “4 Kampe II”, and @heisrema with @yseult on “Wine” reflect this growing synergy. With whispers of a potential collaboration between @ayrastarr and @theodorabosslady also circulating, these two spheres of Afropop are going on this path hand in hand.

The musical bridge between Anglophone and Francophone Afropop is stronger than ever. Across the continent and throughout the diaspora, artists are increasingly crossing linguistic & regional lines to make music that is both commercially successful and culturally resonant.

Recent collaborations such as @mrmoney and @tiakola on “Badman Gangsta”, @wizkidayo and @tiakola on “Après Minuit”, @joedwetfile and @burnaboygram on “4 Kampe II”, and @heisrema with @yseult on “Wine” reflect this growing synergy. With whispers of a potential collaboration between @ayrastarr and @theodorabosslady also circulating, these two spheres of Afropop are going on this path hand in hand.

The musical bridge between Anglophone and Francophone Afropop is stronger than ever. Across the continent and throughout the diaspora, artists are increasingly crossing linguistic & regional lines to make music that is both commercially successful and culturally resonant.

Recent collaborations such as @mrmoney and @tiakola on “Badman Gangsta”, @wizkidayo and @tiakola on “Après Minuit”, @joedwetfile and @burnaboygram on “4 Kampe II”, and @heisrema with @yseult on “Wine” reflect this growing synergy. With whispers of a potential collaboration between @ayrastarr and @theodorabosslady also circulating, these two spheres of Afropop are going on this path hand in hand.

The musical bridge between Anglophone and Francophone Afropop is stronger than ever. Across the continent and throughout the diaspora, artists are increasingly crossing linguistic & regional lines to make music that is both commercially successful and culturally resonant.

Recent collaborations such as @mrmoney and @tiakola on “Badman Gangsta”, @wizkidayo and @tiakola on “Après Minuit”, @joedwetfile and @burnaboygram on “4 Kampe II”, and @heisrema with @yseult on “Wine” reflect this growing synergy. With whispers of a potential collaboration between @ayrastarr and @theodorabosslady also circulating, these two spheres of Afropop are going on this path hand in hand.

The Met Gala was back last night with its usual mix of cutting-edge fashion moments and creative risks. This year’s theme, “Costume Art” with a dress code of “Fashion is Art”, explored the body as a canvas throughout history and pushed looks towards the sculptural and the conceptual.

From Tyla’s Valentino peacock fantasy to Skepta’s conceptual Thom Browne suit, swipe for a look at how African stars interpreted the theme.

The Met Gala was back last night with its usual mix of cutting-edge fashion moments and creative risks. This year’s theme, “Costume Art” with a dress code of “Fashion is Art”, explored the body as a canvas throughout history and pushed looks towards the sculptural and the conceptual.

From Tyla’s Valentino peacock fantasy to Skepta’s conceptual Thom Browne suit, swipe for a look at how African stars interpreted the theme.

The Met Gala was back last night with its usual mix of cutting-edge fashion moments and creative risks. This year’s theme, “Costume Art” with a dress code of “Fashion is Art”, explored the body as a canvas throughout history and pushed looks towards the sculptural and the conceptual.

From Tyla’s Valentino peacock fantasy to Skepta’s conceptual Thom Browne suit, swipe for a look at how African stars interpreted the theme.

The Met Gala was back last night with its usual mix of cutting-edge fashion moments and creative risks. This year’s theme, “Costume Art” with a dress code of “Fashion is Art”, explored the body as a canvas throughout history and pushed looks towards the sculptural and the conceptual.

From Tyla’s Valentino peacock fantasy to Skepta’s conceptual Thom Browne suit, swipe for a look at how African stars interpreted the theme.

The Met Gala was back last night with its usual mix of cutting-edge fashion moments and creative risks. This year’s theme, “Costume Art” with a dress code of “Fashion is Art”, explored the body as a canvas throughout history and pushed looks towards the sculptural and the conceptual.

From Tyla’s Valentino peacock fantasy to Skepta’s conceptual Thom Browne suit, swipe for a look at how African stars interpreted the theme.

The Met Gala was back last night with its usual mix of cutting-edge fashion moments and creative risks. This year’s theme, “Costume Art” with a dress code of “Fashion is Art”, explored the body as a canvas throughout history and pushed looks towards the sculptural and the conceptual.

From Tyla’s Valentino peacock fantasy to Skepta’s conceptual Thom Browne suit, swipe for a look at how African stars interpreted the theme.

The Met Gala was back last night with its usual mix of cutting-edge fashion moments and creative risks. This year’s theme, “Costume Art” with a dress code of “Fashion is Art”, explored the body as a canvas throughout history and pushed looks towards the sculptural and the conceptual.

From Tyla’s Valentino peacock fantasy to Skepta’s conceptual Thom Browne suit, swipe for a look at how African stars interpreted the theme.

The Met Gala was back last night with its usual mix of cutting-edge fashion moments and creative risks. This year’s theme, “Costume Art” with a dress code of “Fashion is Art”, explored the body as a canvas throughout history and pushed looks towards the sculptural and the conceptual.

From Tyla’s Valentino peacock fantasy to Skepta’s conceptual Thom Browne suit, swipe for a look at how African stars interpreted the theme.

The Met Gala was back last night with its usual mix of cutting-edge fashion moments and creative risks. This year’s theme, “Costume Art” with a dress code of “Fashion is Art”, explored the body as a canvas throughout history and pushed looks towards the sculptural and the conceptual.

From Tyla’s Valentino peacock fantasy to Skepta’s conceptual Thom Browne suit, swipe for a look at how African stars interpreted the theme.

The Met Gala was back last night with its usual mix of cutting-edge fashion moments and creative risks. This year’s theme, “Costume Art” with a dress code of “Fashion is Art”, explored the body as a canvas throughout history and pushed looks towards the sculptural and the conceptual.

From Tyla’s Valentino peacock fantasy to Skepta’s conceptual Thom Browne suit, swipe for a look at how African stars interpreted the theme.

The Met Gala was back last night with its usual mix of cutting-edge fashion moments and creative risks. This year’s theme, “Costume Art” with a dress code of “Fashion is Art”, explored the body as a canvas throughout history and pushed looks towards the sculptural and the conceptual.

From Tyla’s Valentino peacock fantasy to Skepta’s conceptual Thom Browne suit, swipe for a look at how African stars interpreted the theme.

The Met Gala was back last night with its usual mix of cutting-edge fashion moments and creative risks. This year’s theme, “Costume Art” with a dress code of “Fashion is Art”, explored the body as a canvas throughout history and pushed looks towards the sculptural and the conceptual.

From Tyla’s Valentino peacock fantasy to Skepta’s conceptual Thom Browne suit, swipe for a look at how African stars interpreted the theme.

@jeriqthehussla is ready for his new project, ‘HOOD BOY DREAMS EP 2.’

Set for release on 6th May, the project is a sequel to his 2020 EP that propelled his rise to fame as a Hip-Hop artist in Eastern Nigeria and beyond.

While the first version focused on the blistering ambitions of a street boy portrayed over six songs, including “No Cap” and “Remember,” the EP announcement features clips of renowned artists like @zlatan_ibile & @illblissgoretti discussing his artistry, indicating that this project may be a progress report about the Hood Boy’s journey so far.

@jeriqthehussla is ready for his new project, ‘HOOD BOY DREAMS EP 2.’

Set for release on 6th May, the project is a sequel to his 2020 EP that propelled his rise to fame as a Hip-Hop artist in Eastern Nigeria and beyond.

While the first version focused on the blistering ambitions of a street boy portrayed over six songs, including “No Cap” and “Remember,” the EP announcement features clips of renowned artists like @zlatan_ibile & @illblissgoretti discussing his artistry, indicating that this project may be a progress report about the Hood Boy’s journey so far.

@jeriqthehussla is ready for his new project, ‘HOOD BOY DREAMS EP 2.’

Set for release on 6th May, the project is a sequel to his 2020 EP that propelled his rise to fame as a Hip-Hop artist in Eastern Nigeria and beyond.

While the first version focused on the blistering ambitions of a street boy portrayed over six songs, including “No Cap” and “Remember,” the EP announcement features clips of renowned artists like @zlatan_ibile & @illblissgoretti discussing his artistry, indicating that this project may be a progress report about the Hood Boy’s journey so far.

@jeriqthehussla is ready for his new project, ‘HOOD BOY DREAMS EP 2.’

Set for release on 6th May, the project is a sequel to his 2020 EP that propelled his rise to fame as a Hip-Hop artist in Eastern Nigeria and beyond.

While the first version focused on the blistering ambitions of a street boy portrayed over six songs, including “No Cap” and “Remember,” the EP announcement features clips of renowned artists like @zlatan_ibile & @illblissgoretti discussing his artistry, indicating that this project may be a progress report about the Hood Boy’s journey so far.

@olaoluslawn’s influence in music & wider culture marks a remarkable peak in a journey that began during his teens in Lagos.

From making history as the youngest artist to design the BRIT Awards statuette to his current work on the vinyl packaging for ‘Michael,’ the official soundtrack for the Michael Jackson biopic that traces the life of the most famous pop star in music history, his career has effectively come full circle.

Swipe for the full story.

@olaoluslawn’s influence in music & wider culture marks a remarkable peak in a journey that began during his teens in Lagos.

From making history as the youngest artist to design the BRIT Awards statuette to his current work on the vinyl packaging for ‘Michael,’ the official soundtrack for the Michael Jackson biopic that traces the life of the most famous pop star in music history, his career has effectively come full circle.

Swipe for the full story.

@olaoluslawn’s influence in music & wider culture marks a remarkable peak in a journey that began during his teens in Lagos.

From making history as the youngest artist to design the BRIT Awards statuette to his current work on the vinyl packaging for ‘Michael,’ the official soundtrack for the Michael Jackson biopic that traces the life of the most famous pop star in music history, his career has effectively come full circle.

Swipe for the full story.

@olaoluslawn’s influence in music & wider culture marks a remarkable peak in a journey that began during his teens in Lagos.

From making history as the youngest artist to design the BRIT Awards statuette to his current work on the vinyl packaging for ‘Michael,’ the official soundtrack for the Michael Jackson biopic that traces the life of the most famous pop star in music history, his career has effectively come full circle.

Swipe for the full story.

@olaoluslawn’s influence in music & wider culture marks a remarkable peak in a journey that began during his teens in Lagos.

From making history as the youngest artist to design the BRIT Awards statuette to his current work on the vinyl packaging for ‘Michael,’ the official soundtrack for the Michael Jackson biopic that traces the life of the most famous pop star in music history, his career has effectively come full circle.

Swipe for the full story.

@olaoluslawn’s influence in music & wider culture marks a remarkable peak in a journey that began during his teens in Lagos.

From making history as the youngest artist to design the BRIT Awards statuette to his current work on the vinyl packaging for ‘Michael,’ the official soundtrack for the Michael Jackson biopic that traces the life of the most famous pop star in music history, his career has effectively come full circle.

Swipe for the full story.

@olaoluslawn’s influence in music & wider culture marks a remarkable peak in a journey that began during his teens in Lagos.

From making history as the youngest artist to design the BRIT Awards statuette to his current work on the vinyl packaging for ‘Michael,’ the official soundtrack for the Michael Jackson biopic that traces the life of the most famous pop star in music history, his career has effectively come full circle.

Swipe for the full story.

@olaoluslawn’s influence in music & wider culture marks a remarkable peak in a journey that began during his teens in Lagos.

From making history as the youngest artist to design the BRIT Awards statuette to his current work on the vinyl packaging for ‘Michael,’ the official soundtrack for the Michael Jackson biopic that traces the life of the most famous pop star in music history, his career has effectively come full circle.

Swipe for the full story.

@olaoluslawn’s influence in music & wider culture marks a remarkable peak in a journey that began during his teens in Lagos.

From making history as the youngest artist to design the BRIT Awards statuette to his current work on the vinyl packaging for ‘Michael,’ the official soundtrack for the Michael Jackson biopic that traces the life of the most famous pop star in music history, his career has effectively come full circle.

Swipe for the full story.

@olaoluslawn’s influence in music & wider culture marks a remarkable peak in a journey that began during his teens in Lagos.

From making history as the youngest artist to design the BRIT Awards statuette to his current work on the vinyl packaging for ‘Michael,’ the official soundtrack for the Michael Jackson biopic that traces the life of the most famous pop star in music history, his career has effectively come full circle.

Swipe for the full story.

@olaoluslawn’s influence in music & wider culture marks a remarkable peak in a journey that began during his teens in Lagos.

From making history as the youngest artist to design the BRIT Awards statuette to his current work on the vinyl packaging for ‘Michael,’ the official soundtrack for the Michael Jackson biopic that traces the life of the most famous pop star in music history, his career has effectively come full circle.

Swipe for the full story.

@olaoluslawn’s influence in music & wider culture marks a remarkable peak in a journey that began during his teens in Lagos.

From making history as the youngest artist to design the BRIT Awards statuette to his current work on the vinyl packaging for ‘Michael,’ the official soundtrack for the Michael Jackson biopic that traces the life of the most famous pop star in music history, his career has effectively come full circle.

Swipe for the full story.

@olaoluslawn’s influence in music & wider culture marks a remarkable peak in a journey that began during his teens in Lagos.

From making history as the youngest artist to design the BRIT Awards statuette to his current work on the vinyl packaging for ‘Michael,’ the official soundtrack for the Michael Jackson biopic that traces the life of the most famous pop star in music history, his career has effectively come full circle.

Swipe for the full story.

@olaoluslawn’s influence in music & wider culture marks a remarkable peak in a journey that began during his teens in Lagos.

From making history as the youngest artist to design the BRIT Awards statuette to his current work on the vinyl packaging for ‘Michael,’ the official soundtrack for the Michael Jackson biopic that traces the life of the most famous pop star in music history, his career has effectively come full circle.

Swipe for the full story.