Dare Olaitan’s “Ojukokoro” to be screened in New York
KJM3 are relaunching their diaspora distribution with their new program under their subdivision KJM3.0.
You may have noticed the evolution of the quality of films produced by Nigerian filmmakers in recent years through noticeable tells like the quality of cinematography, the content-driven marketing campaigns and the well-rounded storylines. These improvements have gotten appreciation from Nigerians within and outside the entertainment industry. And KJM3 Entertainment Group attempts to take it a step further by relaunching their diaspora distribution with their new program under their subdivision KJM3.0.
The group’s goal is to introduce talented African filmmakers to international (American) theatrical audiences through unique cinema experiences using their new program: “Nollywood 3.0: Images and Stories from the African Diaspora”. The program is set to debut with daily screenings of select films in April at the Metrograph movie theatre in New York City. The debut screening with feature Dare Olaitan’s debut feature film “Ojukokoro(Greed)“, along with “Oblivion” and “The Encounter”, by Ekene Som Mekwunye.
Dare, who will be present for a Q&A session at the Metrograph movie theatre premier with his producer, Olufemi D. Ogunsanwo, said in a press release that “We can produce films that entertain international and domestic audiences and NY is our chance to show that”. KJM3 Entertainment Group, who are responsible for the $1.6 million distribution success of Julie Dash’s independent film “Daughters of the Dust”, will also show Akin Omotoso’s “Tell Me Sweet Something” and Davina Lee’s “The Knot”, both set and produced in South Africa at the relaunch screening.
The daily screenings in NYC are set for an April 13th release date.
“Tomiwa is figuring it out…” Tweet at her @fauxxbella
“Revisit Our AV Club review of Dare Olaitan’s Debut film “Ojukokoro”“
These artists produced nigerian music’s best 3-album runs
These artists produced nigerian music’s best 3-album runs Santi, Reminisce, Asa and more. Written by...
These artists produced nigerian music’s best 3-album runs
Santi, Reminisce, Asa and more.
Written by The NATIVE – 12.Oct.2024
In late 2020, just a few days after Wizkid released his seminal album ‘Made In Lagos,’ the megastar went on a country-wide press run that detailed his frame of mind while working on the project as well as the rigorous and lengthy process that it took to carefully compile his magnum opus. “Believe it or not, there’s been like 10 [versions of] ‘Made In Lagos’ before this one,” he said nonchalantly on air in conversation with radio host Osi Suave.
Pulling off one great album with that level of diligence and care is a triumph for any artist. Being able to deliver multiple strong projects consecutively, though, is a feat that’s reserved for acts who are well versed in the science of making an album while constantly showing artistic progression without a trade-off in quality. This year, the release of ‘Lungu Boy’ capped off a near-perfect trifecta for Asake in the space of three years. In the list below, we’re going to discuss some of the best three-album runs the country has ever seen. While there’s a large pool to select from, and a case to be made for several other artists whose projects might not have made this list, we’re keeping ours to just seven spots (with a few honorable mentions) and we’re keeping the timeline to the year 2000 up until now. Let’s get into it.
7. Cruel Santino – ‘Suzie’s Funeral,’ ‘Mandy & The Jungle’ & Subaru Boys: FINAL HEAVEN
There was something special about Cruel Santino right from the start. His early works, the 21-track mixtape ‘Diaries Of A Loner’ and ‘Birth Of Santi’ introduced him as a reclusive rap artist who was not shy to experiment. While there was still some restraint on his first two projects, largely favoring Hip-hop inspired production and flows, ‘Suzie’s Funeral’ represented a turning point that would kickstart an impressive run that established him as a shapeshifting musical genius. The release of the project also coincided with the rise of the innovative alte scene and Cruel Santino’s successive releases – 2019’s ‘Mandy & The Jungle’ and the conceptually dense follow-up ‘Subaru Boys: FINAL HEAVEN’ – not only enforced the Edo native’s ingenuity but it also contributed heavily in giving legitimacy to a scene that has been met with apprehension and scrutiny since its inception.
6. Reminisce – ‘Alaga Ibile,’ ‘Baba Hafusa’ & ‘El-Hadj’
Although ‘A Book Of Rap Stories,’ Reminisce’s debut, mostly highlighted the rapper’s hit making abilities, it was through his latter three albums that he truly established himself as a gifted lyricist and a well-rounded act who is not afraid to take risks with his styles. ‘Alaga Ibile,’ his sophomore, showcased his musical dexterity as well as his rap credentials: cuts like the Sarz-produced “Fantasi” find Reminisce employing an infectious Fuji flow over a beat that sounds like it takes influences from both Electronic music and Afropop, while the Olamide and Endia-assisted “Government” served as a ceremonious call-to-arms that proved Reminisce was not one to mess with. ‘Baba Hafusa’ and ‘El Hadj,’ both of which debuted on the US Billboard World Albums chart, also put the 43-year-old’s eclecticism and, most importantly, his mastery of words, on display; cementing him as one of the best rappers of his generation.
5. Asake – ‘Mr Money With The Vibe,’ ‘Work Of Art’ & ‘Lungu Boy’
After years of tinkering with various styles and sounds, Asake found the perfect formula in the early parts of 2022, blending Afropop, Fuji music and Amapiano together for distinctive medleys that were garnished with choral vocals and became one of the long standing highlights of his breakout year. This unique alchemy is what powered his first two hit-laden projects ‘Mr Money With The Vibe’ and ‘Work Of Art,’ both of which are undeniably modern classics. ‘Lungu Boy,’ his third album in as many years, stripped back some of the vim and the turbo-charged production of his earlier projects and while the result is perhaps not as impressive as what he managed with his debut and sophomore, the album still delivers a handful of memorable records that underscore the 29-year-old’s dynamism and ambitions to push the boundaries of his highly infectious sound.
4. Asa – ‘Asa (Asha),’ ‘Beautiful Imperfection’ & ‘Bed Of Stone’
Asa has a near-perfect catalogue. Across her illustrious career, the acclaimed singer-songwriter has delivered five stellar studio albums that have helped distinguish her as one of the most gifted and eccentric artists of her generation. It’s, however, her first three records that really made her standout. ‘Asa (Asha),’ her compact, eponymous debut which was largely constructed alongside legendary artist-producer Cobhams Asoquo, introduced the singer’s moving soul-alto which sat comfortably atop gentle guitar strums and Reggae-Gospel arrangements as she sang passionately about estranged lovers and the dire state of the country. Her 2010 follow-up ‘Beautiful Imperfection’ trades some of the melancholy of her debut for a wider range, delivering evergreen cuts like the upbeat “Be My Man,” while ‘Bed Of Stone,’ which came four years after her sophomore, completed an impressive trifecta, once again delivering a memorable body of work that proved the singer is in a league of her own.
3. Olamide – ‘Rapsodi,’ ‘YBNL’ & ‘Baddest Guy Ever Liveth’
Two things are consistent about Olamide: cigarettes and projects. Since the rap veteran debuted in 2011, he has released a body of work (collaborative and/or solo) every year since, barring 2019. It is, however, the YBNL boss’ first three albums that are arguably his best yet: ‘Rapsodi,’ which was released under ID Cabasa’s Coded Tunes label, earmarked Olamide as a highly talented rap star in the making, but it’s 2012’s ‘YBNL,’ which he released under his newly formed label at the time, and his magnum opus ‘Baddest Guy Ever Liveth,’ that established him as a superstar who was largely responsible for ushering in a new era of indigenous rap music.
2. Burna Boy – ‘Outside,’ ‘African Giant’ & ‘Twice As Tall’
The release of ‘Outside,’ Burna Boy’s third studio album, represents a watershed moment in the self-proclaimed African giant’s distinguished career. A few months prior, the fusion artist who had showcased his immense talent on earlier albums ‘L.I.F.E’ and ‘On A Spaceship,’ was struggling to connect with his core audience due to his inconsistency and numerous public antics that alienated a large swath of his fanbase. ‘Outside,’ however, signified a fresh start for Burna Boy who went ahead to have arguably the greatest creative run the country has ever seen following the album’s release. ‘African Giant,’ which came in 2019 earned him a nomination for Best World Music Album at the 62nd Annual Grammy Awards and his follow-up ‘Twice As Tall,’ helped him make history, as he won the Grammy award for the Best Global Music Album, becoming the first Nigerian artist to pick the highly coveted music award.
1. P-Square – ‘Get Squared,’ ‘Game Over’ & ‘Danger’
It’s a testament to P-Square’s insane depth of quality that any three of their first five albums could make this list. While the famed duo boast a pristine discography, albums two to four are where their legend was truly cemented. Even though their 2003 debut ‘Last Nite’ helped the duo gain some recognition – especially with classic cuts like “Senorita,” – ‘Get Squared’ is what really launched the duo to superstardom. The follow-up, 2007’s ‘Game Over’ was revolutionary, as the duo embraced a slightly different but more ambitious stylistic approach to both their music and the accompanying visuals. The decision paid off massively as the album reportedly sold over 10 million copies worldwide and they capped off their awe-inspiring run with the release of ‘Danger’ which bookends perhaps the greatest three album run the country has seen since the turn of the century.
Honorable Mentions
Kizz Daniel – ‘New Era,’ ‘No Bad Songs’ & ‘King Of Love’
In retrospect it’s hilarious that Kizz Daniel was thought of as a one-hit wonder who was limited in his stylistic scope early on in his career. He beat those allegations fairly easily with the release of ‘New Era,’ his incredible debut that scooped up the Best R&B/Pop Album award as well as the Album Of The Year award at the 2016 Headies. His ambitious follow-up ‘No Bad Songz‘ was arguably even more impressive but 2020’s ‘King Of Love’ unfortunately pales in comparison to his first two works. While the album houses a few hit records like “Fvck You” and “Jaho,” the memorable moments are few and far between, something that his earlier projects had in abundance.
Wizkid – ‘Superstar,’ ‘Ayo’ & ‘Sounds From The Otherside’
Not much needs to be said about ‘Superstar.’ It’s an undeniable classic and one of the greatest debuts in Nigeria’s music history. While ‘Ayo’ didn’t quite receive the kind of acclaim ‘Superstar’ got, it’s a very strong body of work in its own right. Evergreen cuts like “Jaiye Jaiye,” “Show You The Money,” “In My Bed,” “Joy” and the timeless “Ojuelegba” ensure that the album is also firmly etched in Nigerian music canon. Wizkid had lofty ambitions with his third studio album, showing his versatility as he attempted to bring more global exposure to Afropop. While the album remains significant in Wizkid’s career and our collective musical history for a number of reasons, it sadly failed to resonate with the singer’s home-based fans the way his earlier projects did.
M.I – ‘Talk About It,’ ‘M.I 2: The Movie’ & ‘The Chairman’
Of all the albums and mixtapes that M.I has put out over his extensive and decorated career, none has been below par. His strongest run, however, remains his first three studio albums. 2008’s ‘Talk About it’ introduced M.I as the hottest rapper on the block but it was the cinematic ‘M.I: The Movie’ that truly established the rap legend as a creative and lyrical genius who stood head and shoulders above his peers. 2014’s ‘The Chairman’ would have completed a perfect three album run but the project suffered from a lack of focus and a host of supporting cast (26 features in total) that left it feeling stuffy.
LET US KNOW WHO YOU THINK WE’RE MISSING OUT OF THIS LIST
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How Zinoleesky Fell From Grace
We take an introspective look at cancel culture across Nigeria, and what this means for Zinoleesky's career...
‘I left dem posts on my Instagram, so you can see there was a turning point.’ Those are the famous opening words from “Gone Far,” one of Zinoleesky’s many inescapable hit singles from early in his career. The posts on Instagram that the Lagos-born singer references are the numerous freestyle videos that he and a bunch of other spirited street artists from Agege popularized in the late 2010s. While these videos were mostly populated by eager, high school graduates with lofty ambitions of blowing, Zinoleesky stood out for his dulcet style which favored Fuji-inspired melodies instead of the more traditional rap style that his friends and industry peers opted for.
This unique and assured style coupled with his sharp, witty lyricism is what helped propel him to fame; scoring a sleeper hit with the Lil Frosh-assisted “Who Knows” before eventually signing to Naira Marley’s Marlian Music in December 2019 after attracting interest from several top labels in the country. In the years that followed, Zinoleesky stood out as perhaps the most exciting Street Pop artist to have emerged in Nigeria in the last decade. The singer’s relatable tales of strife and hustle, memorable one-liners and salient counsel from his sage mother were expertly folded into melodious and irresistible earworms that helped earmark him as one of Afropop’s next great hopes. Not even the web of restrictive COVID-19 regulations that plagued his breakout year nor an inauspicious encounter with operatives of the National Drug Law Enforcement Agency a couple of years later could derail his seemingly unstoppable momentum.
The evening of September 12, 2023, however, represented another turning point in Zinoleesky’s career when news broke that close collaborator and one-time Marlian Music signee Mohbad had died at the age of 27. While initial reports indicated that the “Feel Good” singer died from complications linked to a respiratory infection, the wider details of his illness and eventual death remained suspiciously vague as conflicting narratives began to emerge. This inspired a fiery #Justice4Mohbad outcry on social media which prompted the Lagos Police Command to launch an independent inquiry into the mysterious circumstances surrounding the singer’s death. The public curiosity also began to unearth details about Mohbad’s hostile exit from Marlian Music, as many pointed accusatory fingers towards label boss Naira Marley who Mohbad had previously accused of sending hooligans to physically attack him after he left the label.
While Zinoleesky stayed silent as the entire ordeal unfolded, a heart-rending clip of Mohbad expressing how he felt betrayed by Zinoleesky during the NDLEA fiasco and the ill-treatment he received from Naira Marley surfaced online, causing many angry fans to demand that Zinoleesky speak up and give some clarity to the accusations made against him and his label boss. The sort of maltreatment and bullying that Mohbad was subjected to was something a lot of young Nigerians could relate to, so they were not going to let up until they got some answers. The 24-year-old, however, maintained his silence, causing many to believe he was complicit in Mohbad’s abuse and eventual death. Days after the clip went viral, numerous radio and television stations across the country placed Zinoleesky and Naira Maley’s music catalogue on an airplay ban. Wale Babalola, a United States-based music promoter who heads Fathia Entertainment Showbiz, also announced that he had canceled Zinoleesky’s scheduled US tour. The entire Marlian Music label was caving in on itself and Zinoleesky’s seemingly unstoppable career was trapped under the rubble.
Months after Mohbad’s death, Zinoleesky resurfaced online, announcing the release of a new single titled “Sakara.” The reception to his comeback was predictably sour as many Nigerians had seemingly canceled him and vowed to never support or listen to any of his music, new or old. In addition to radio and TV stations banning his music, he’d also been blacklisted by numerous platforms and online publications. Several reputable brands and fellow artists also distanced themselves from him as he was noticeably not getting booked for any shows or collaborating with his peers. He had become bad market – a pariah.
If there was any doubt about where public perception of Zinoleesky stood in 2024, we can look at the public reaction when rising talent Minz released his official debut album ‘By Any Minz’ which included “Sokoto,” a pre-released single featuring Zinoleesky. Even though the song was recorded and released prior to the Mohbad debacle, it didn’t stop many fans from questioning Zinoleesky’s inclusion on the album. A tweet by Minz defending his choice to include the singer on his debut was met with even more backlash, highlighting how opinions about the once-beloved singer have drastically changed as well as the efficacy of cancel culture in Nigeria.
The independent investigation that the police launched into Mohbad’s death is still yet to be resolved. A contentious autopsy report from earlier in the year stated the cause of the late singer’s death could not be determined and there’s yet to be any notable progress since then. So it only makes sense that many Nigerians are still furious about the situation as details of Mohbad’s unfortunate demise remain vague while Naira Marley and Zinoleesky, who many still believe are somewhat culpable, roam free. And while this is not the first time an artist has been accused of committing a crime or being complicit in harmful behaviour, it appears this is the first time cancel culture is having any real effect in Nigeria.
In 2020, the same year that Zinoleesky broke out, a woman named Seyitan Babalola accused D’banj of forcibly gaining access to her hotel room as she slept and raping her. She made these allegations on Twitter (now X) and made an official report to the police three days later. D’banj publicly denied the allegations and days after Babalola had made these allegations, she posted another statement on Twitter, describing how officers had forced their way into her apartment, arrested her and detained her overnight without charge. She further explained that she was coerced, and intimidated in person by D’banj and his team to retract all statements and to announce that her testimony was all a publicity stunt. Shortly after this statement, all of Babalola’s posts were deleted from her personal Twitter account and replaced with tweets claiming to retract her allegations, along with videos promoting D’banj’s music.
While this situation also sparked some online outrage, it was not nearly as serious as the outrage sparked by Mohbad’s death. And for his part, D’banj simply carried on with business as usual even though he had allegedly raped, abducted and coerced a woman into retracting her statement. The famous singer was neither deplatformed nor particularly blacklisted in the way Zinoleesky and Naira Marley have been. Two years on from the rape allegations, D’banj was revealed as one of the judges of Nigerian Idol and he continues to be celebrated even to this day, underlining the levity with which many Nigerians regard an endemic problem like rape and sexual abuse, a grossly inefficient justice system as well as the considerably high bar for getting ostracized or canceled in Nigeria.
For many who have refused to boycott some of these controversial acts, the rationale ranges from outrightly choosing to believe the allegations levied against them are false even in the face of overwhelming evidence to the agelong concept of separating the art from the artist. The latter is more common; trying to focus on the intrinsic value of art rather than the actions or transgressions of the artist. While this concept is as nuanced as they come and I believe that art can and should be separated from the artist, ultimately it boils down to what your values are. Unfortunately, it appears for many Nigerians, the bar for refusing to separate an artist from their art is when it involves death.
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BLACKLIST WEST AFRICA RETURNS WITH ITS THIRD EDITION, IN COLLABORATION WITH GUAP MAGAZINE
Celebrating 15 of the most iconic trailblazers, pushing boundaries and transforming culture across West...
In spite of stifling government policies and harsh economic realities, creators across West Africa remain dogged in pushing the envelope of culture, expanding and reimagining experiences for African youth, both locally and globally. Celebrating these creators who keep pushing the boundaries of culture is not only essential to acknowledging the present but also to forging a future that honors the innovation and rippling influence of culture changemakers.
The third installment of THE BLACKLIST, in collaboration with our friends at GUAP Magazine is an initiative set out to celebrate the remarkable individuals who are not only defining but actively transforming West African culture. By giving them their flowers in real time, THE BLACKLIST ensures these trailblazers receive the recognition they deserve, amplifying their contributions and inspiring the next generation of creatives and visionaries. This list underscores the importance of honoring culture-shapers while they’re making history, not just in retrospect.
This year, we highlight 15 of the most iconic voices propelling West African culture to new heights. From groundbreaking visual artists to visionary thinkers and creators, these individuals are crafting a legacy of empowerment, resilience, and innovation.
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ABIODUN
Abiodun Oladokun is a multifaceted individual, excelling as a crypto research analyst, lawyer, and DJ. He is the founder of ILÉ IJÓ, a monthly house music rave that operates under the brand name MELT. He has gained recognition in the vibrant Lagos and Ibadan rave scene. In just a short span, he has performed at top-tier raves and cultivated a loyal following for ILÉ IJÓ, with returning attendance growing from a few hundred to over a thousand.
Abiodun is not just a talented DJ but also a catalyst for change. With initiatives like ILÉ IJÓ’s ByUSB program, he provides a launchpad for emerging DJs and cultivates a thriving multi-state rave culture that captivates music lovers in Lagos and Ibadan. Beyond the local scene, Abiodun is a virtual resident DJ at Oroko Radio, a prominent Ghanaian music community platform. He also holds residencies at Redlightfashionroom, an elite community of EDM and House Music enthusiasts in Ibadan.
ANIKO
Aniko is a leading electronic music DJ and Founder of Group Therapy, an electronic music event and community in Nigeria which has quickly become a staple in Lagos’ underground nightlife, known for its high-energy parties and top-tier lineups. Known for her dynamic sets, blending afro house, deep house, techno, and progressive beats, her intricate layering, seamless transitions, and ability to connect with audiences have made her a standout figure in Nigeria’s dance music scene and beyond.
Aniko’s influence extends far beyond Nigeria, making waves across the globe with performances that are consistently hailed as some of the best in the space. Her contributions continue to shape the industry, inspiring both peers and fans alike with her dedication, talent, and passion for electronic music. Aniko’s talent has seen her performing prestigious stages and platforms across the world including HOR Berlin, Boiler Room, Homecoming, Nyege Nyege Festival, and many more.
ASHERKINE
Asherkine’s rise from a grassroots content creator to one of Nigeria’s most beloved figures in entertainment is a tale of vision, hustle, and an unmistakable knack for turning ordinary moments into captivating, unforgettable experiences. Originally finding his footing behind the camera, Asherkine first gained widespread attention when he directed the visuals for Asake’s breakout anthem, “Omo Ope.” But while “Omo Ope” thrust him into the spotlight, Asherkine quickly evolved beyond the role of a director, transforming himself into a one-man powerhouse of generosity and social impact.
In the years following his viral success, Asherkine has become something of a phenomenon, often compared to the American YouTube star, Mr Beast, for his seemingly boundless generosity. Whether handing out cash to struggling market vendors or supplying students with essentials, Asherkine redefines what it means to be a creator in Nigeria, bridging the gap between social media stardom and genuine community outreach. His giveaways aren’t simply about social media virality but are rooted in a deep-seated belief in uplifting his fellow citizens. Asherkine’s journey is a reminder of the evolving power of Nigeria’s creative scene — not just to entertain, but to impact lives directly, leaving an indelible mark on the communities that shaped him
AYANFE OLARINDE
Ayanfe Olarinde is redefining contemporary Nigerian art, carving out a space for herself in a scene she has thoroughly transformed with her layered, evocative creations. Known for her intricate scribbling technique and bold exploration of Nigeria’s social realities, Olarinde’s work has not only shaped the visual identity of a generation of artists but also elevated the
conversation around everyday Nigerian life. Self-taught and driven by a fierce commitment to documenting cultural truths, Olarinde blends mixed media, including ink, acrylics, and found objects, to construct textured pieces that speak to self-image, mental health, and identity formation. Her work often doubles as a critique of contemporary society, using imperfections and layered images to question the constructs of beauty, acceptance, and collective memory.
Olarinde’s accolades speak to her growing influence. She’s exhibited at landmark galleries like SMO Contemporary Arts and Rele Gallery, won the First Bank Magic 125 Creative Contest in 2019, and stood as the only Nigerian recognized at the AWIEF Prize for Creativity Award in South Africa in 2020. Her celebrated series “Dem Bobo,” a visually rich commentary on the ironies of urban life, has been featured by CNN, Vogue, and RADR Africa, reinforcing her reputation as one of Nigeria’s most gifted contemporary artists. Last year, Olarinde made waves as the artist behind the cover art for Asake’s celebrated Work of Art album, and she founded the fashion-forward streetwear brand, WWYD. Currently a mentee at The Nlele Institute and director of Unearthical, where she delves into fine art and fashion photography, Olarinde continues to stretch the boundaries of her medium, solidifying her place as one of the most compelling voices in Nigerian art today.
BRYAN IBEH
Bryan Ibeh (He/they) is a 22-year-old Nigerian-born and Lagos-based filmmaker and multidisciplinary creative working mainly as a director, photographer, producer, and editor. Currently in his final year at the University of Lagos, pursuing a Bachelor’s degree in Mass Communication, Ibeh has established himself as a talented filmmaker, photographer, producer, and creative director. His career as a creative began in 2018, experimenting with alternative-style short films, music videos, and images that showcased his unique visual perspective.
Ibeh’s portfolio includes notable collaborations with Lady Donli, Solis4evr, 808vic, Fave, Bloody Civilian, and others, as well as production credits for Adidas, MAC Cosmetics, DAZED, and SHOWstudio. He exhibited his experimental films at EXPO Lagos in 2021 and co-directed the experimental short fashion film “We Are Looking For Ourselves In Each Other,” which premiered exclusively on Nataal Media in 2022. His latest film, “Nowhere is Safe To Be,” a music film for contemporary artist Yinminu, tackles themes of trauma, bullying, and resilience, reflecting Bryan’s commitment to exploring complex social issues through innovative storytelling.
CHINASA ANUKAM
Chinasa Anukam is an award-winning writer, actor, stand-up comic, & digital content creator. Her first degree is in Law from the University of Bristol, UK. She has subsequently studied acting and improv comedy in the U.K & U.S. She has performed on global stages in cities ranging from New York and London to Abuja & Lagos.
She currently produces, directs and hosts the hit Youtube show, “Is this Seat Taken” which has been widely received and viewed in 120 countries with combined views of 8.5 million across 4 seasons. Additionally, ITST is currently airing on television in 42 countries via the Trace Africa TV network. Outside of work, Chinasa is passionate about travel, dancing, pounded yam, young Africans, women’s rights and telling stories. It is one of her deepest hopes that her career is a testimony of possibility to young Africans, young Nigerians, Nigerian women & black women, that we can take up space anywhere as long as we put in the work and believe.
EKOW BARNES
Ekow Barnes is a distinguished fashion writer, producer and creative strategist, with an impressive portfolio of clients across the continent and beyond. He specializes in fashion writing, creative production, and consultancy with several commissions in Ghana and England. Ekow has worked with brands such as Puma, New Balance, Mercedes-Benz, Emirates, Burberry, Spotify, Qatar Airways, Adidas, WSGN, Vogue, i-D , Ebony, GQ , Guardian and more.Ekow holds a degree in Mass Communication from BlueCrest University (Public Relations Major) in Accra, Ghana.
Ekow is the Co-Founder and serves as Chief Creative Officer of Will and Barnes Group; a creative production and talent management agency based in Accra, supporting creatives and sharing inspirational, thought-provoking narrative and audio-visual stories across the globe. Ekow is passionate about promoting emerging talents and showcasing their works to the world. He contributes to Vogue Italia, Guardian, and GQ South Africa as a writer on sustainable fashion stories with 30+ bylines in notable publications including (but not limited to) Glamour, Ebony, Essence, CNN.
ELSIE AHACHI
Elsie Ahachi, also known as “Elsie not Elise,” is a dedicated music enthusiast who’s turned her love for music and storytelling into a full-time passion. Starting out in 2022 with TikTok videos diving into the music she enjoyed, Elsie quickly built a following of people who resonate with her eye for talent and knack for finding artists who deserve more shine. Now, through her engaging
content and platform, Elsie spotlights emerging voices, creating a space where artists can share their work and stories without the usual industry pressures.
What began as sharing the music she loves has evolved into a multifaceted approach that includes artist interviews, documentaries, and storytelling that dives deeper into the creative processes of musicians. She’s also built a thriving community of music lovers across social media, connecting fans and artists over a shared passion for good music.
FEYIKEMI AKIN-BANKOLE
Feyikemi Akin-Bankole is a Business Management graduate from the University of Warwick and the co-host of F&S Uncensored, a leading Nigerian podcast that has transformed music discourse in the country. With over 200 episodes, F&S Uncensored has become an essential voice in Afrobeats, driving conversations that shape and amplify Nigerian and African pop culture. A lifelong
music enthusiast, Feyikemi has always been drawn to the Nigerian entertainment scene, particularly the vibrant Afrobeats landscape.
Upon returning to Lagos in 2019, Feyikemi began her career as an A&R at Aristokrat Records, later becoming Head of Music at Bounce Networks. She now brings her expertise to Spotify Sub-Saharan Africa as a PR & Communications Executive. In her role, she leads the VIP program for SSA and acts as a central liaison between Spotify and its creative agency, skillfully managing talent relations and campaign strategies. Feyikemi’s dedication to fostering talent in Africa’s music ecosystem makes her a crucial player in elevating African pop culture on the global stage. With her forward-looking vision and impact-driven approach, she is committed to empowering the next generation of artists and creators, championing African music and culture far beyond its borders.
JEMEDAFE CALEB UKOLI
At just 24, Caleb Jemedafe, known across Lagos as the “Party Boy of Lagos,” is transforming Africa’s creative scene with a vision that reaches far beyond parties. Starting from his university dorm room, Jemedafe has spent years championing young African talent, guiding emerging artists to global recognition and multi-million-dollar deals. His journey began with a knack for spotting potential, fueled by a Mechanical Engineering background from Landmark University that offered him dynamic knowledge to navigate the business landscape. At 18, he launched “Let’s Relate,” a groundbreaking festival that blended music and sports, drawing over 20,000 young Africans and capturing the attention of top brands like Hennessy, Ballantine’s, Coca-Cola, and TRACE and attracting performers like Rema. This early success led him to found KVLT, a multifaceted creative cloud and talent accelerator that has fueled the rise of talents such as Victony, Llona, Abstraktt, and DJ Six7even. KVLT isn’t just a company—it’s a thriving community of creative enthusiasts who together represent a new wave in African entertainment.
But his influence doesn’t stop there. Through his flagship event series, Even in the Day, Jemedafe is at the forefront of the reimagination of Africa’s party culture, producing 23 high-energy events across West and South Africa and attracting over 50,000 attendees. Featuring internationally renowned DJs like Tyler ICU and DJ Spinall, the series has become a platform for showcasing Africa’s best DJ talent, creating unforgettable experiences for thousands across various nationalities. Driven by a mission to build a global Afro-creative community, Jemedafe is not just rewriting Africa’s entertainment narrative—he’s building an inclusive, opportunity-filled world where young African creatives can thrive. His journey is a testament to vision, resilience, and the power of community.
LAYI WASABI
Layi Wasabi, whose real name is Isaac Ayomide Olayiwola, is a Nigerian comedian, actor, content creator, and lawyer who is best known for his unique style of comedy, often portraying a comical lawyer in his skits. Layi knew that comedy would be his vehicle to connect with audiences and share his unique perspective on life. Armed with a smartphone and a creative spark, Layi ventured into the world of skit-making, using social media as his stage and a canvas for his imaginative sketches.His infectious energy and relatable characters quickly caught the attention of viewers, propelling him into the spotlight of Nigeria’s vibrant comedy scene. His signature style—lively expressions, clever dialogues, and a knack for memorable quips—resonates with fans across generations, turning his social media platforms into a hub for laughter and joy.
Layi Wasabi is more than just a comedian; he’s a storyteller at heart, weaving narratives that reflect the complexities of life in Nigeria. Whether tackling societal issues or simply celebrating the quirks of daily living, he approaches each skit with authenticity and a keen sense of observation. As he continues to push boundaries and explore new creative avenues, Layi remains committed to his roots, reminding us all that laughter is not just entertainment—it’s a powerful tool for connection and understanding. With his sights set on even greater heights, the world truly is his oyster, and Layi is just getting started.
ORRY SHENJOBI
Orry Shenjobi is a British-Nigerian multidisciplinary artist and Creative Director of Studio ORRY, based in London. Her work crosses boundaries, merging techniques and materials to create immersive art that delves into identity, culture, and social narratives. Shenjobi’s dedication to sustainability plays a central role in her practice, with her studio maintaining a zero-waste policy and a strong commitment to upcycling, reflecting her belief in the transformative power of art as a vehicle for social change. In 2024, Shenjobi showcased her solo exhibition A Wà ńbè: A Celebration of Community and Culture at the Venice Biennale, as part of the “Foreigners Everywhere” series curated by Usen Esiet at the European Cultural Centre in Venice, Italy. This milestone affirmed her position as an artist focused on exploring the importance of community and cultural identity.
Shenjobi holds a degree in Product Design from the University of Leeds and an MA in Social Innovation and Sustainable Futures from UAL, blending creative practice with a deep sense of social responsibility. Her mixed media paintings and product design expertise form the foundation of her practice, while her personal background – born in London and raised in Lagos – brings a vibrant duality to her work. This cultural interplay heightens her sensitivity to diverse social experiences, which she translates into her art.In addition to her own work, Shenjobi is committed to artist development through her program, the Laho Initiative, which supports emerging artists in realizing their potential.
PITH AFRICA
Pith Africa founded in 2021 by Adedayo Laketu, Cosmas Ojemen and Nnaemeka Anazodo, began with a goal: to create a brand that resonates with the vibrant spirit of African youth, celebrating creativity and innovation through fashion, narratives and curated experiences that highlight a new age. Founded in Lagos, Nigeria, Pith Africa was born from a desire to reshape global perceptions of African fashion by creating a brand that tells authentic African stories through bold, expressive designs. From the outset, our mission has been clear: to build a brand that doesn’t just create fashion but fosters a cultural dialogue that resonates locally and globally.
At the heart of Pith Africa’s identity is a deep connection to our community. Our brand draws inspiration from the vibrant streets of Lagos—the energy, the pace, the culture. Pith Africa sees fashion as more than clothing; it’s a canvas for storytelling, a medium to amplify the voices, dreams, and experiences of a new age of Africans. Each collection is a celebration of diversity, innovation, and community, encapsulating the combined dreams of us all while challenging conventional narratives of African fashion and creativity. PITH Africa’s aim is to position African streetwear/fashion on the global stage, proving that our designs can compete with—and redefine—the standards of global fashion. Pith Africa is not just a brand; it’s a platform for celebrating African excellence, creativity, and resilience.
TOLU OYE
Tolu Oye is a visionary entrepreneur and creative force with a passion for celebrating Nigerian culture and heritage. She founded Meji Meji, a fashion brand inspired by a love for community and culture during the pandemic. Over the years, she has established Meji Meji as a platform to connect people through fashion, art, and storytelling. Known for innovative designs that blend nostalgia with modern aesthetics, Tolu has created collections like the Midnight Snack Collection, paying homage to Nigerian sweets and snacks, and “Sisi Ologe,” which reimagines classic hairstyles in extravagant, expressive ways to honour hair as an essential to our identity.
Meji Meji has become a beloved brand for its authenticity as Tolu’s vision and creativity never fails to invoke memories while committing to the preservation of the Nigerian identity across all her projects.
TUNDE ONAKOYA
Tunde Onakoya is a dreamer, social reformer, and Nigerian National Chess master. In 2018, he founded Chess in Slums Africa, a non-profit organization that uses the game of chess as a framework to give children in impoverished communities access to education, technology, and mentorship.The impact of this initiative has reached far beyond the borders of Nigeria, with stories of transformation featured on global media platforms like BBC, Al-Jazeera, and Deutsche Welle. Over 10,000 children’s lives have been touched, with 500 receiving fully funded scholarships to local and international institutions.
Tunde Onakoya actively engages in games of chess with fellow thought leaders, fostering connections that have the potential to amplify the impact of Chess in Slums Africa globally. His ability to articulate the mission and vision of his organization constantly garners attention and admiration, reinforcing the organization’s commitment to making chess an agent of change. Onakoya’s efforts have earned him numerous accolades, including The Future Awards Africa Prize for Community Action in 2021, the Business Insider Award for Social Entrepreneur of the Year in 2022, the JCI Ten Outstanding Young Persons of Nigeria Award for Contribution to Children, World Peace, and/or Human Rights in 2022, the Trendupp Award for Force of Social Good in 2022, Leadership newspaper Humanitarian of the year and the Royal African Award in 2022. Tunde Onakoya continues to be a beacon of inspiration, not just within the realm of chess but in the broader context of using strategic thinking to shape a better world for all.
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