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Moonchild Sanelly releases her latest album ‘Full Moon’

Jan 10, 2025 | New Release, Music

With a discography that embraces South African homegrown genres from Amapiano and Gqom to her own pioneering style dubbed “future ghetto funk”, musician and creative visionary Moonchild Sanelly has from the outset blazed her own unique trail. The Port Elizabeth-born maverick is known for her vibrant, inimitable style, affirming lyricism and storytelling, as well as inspirational honesty, across a career which deftly encompasses constant experimentation and innovation, while always remaining accessible and singularly recognizable as Moonchild Sanelly

Thematically her latest album Full Moon sees Sanelly embrace the art of letting go and forgiveness, both of herself and others, as she revisits scenarios across her extraordinary life in a series of musical snapshots. The song-writing process for Full Moon saw her focus on the self and her journey towards self-love, the studio a place which allowed her the creative and personal space required to share these stories.

“My music is about the body and liberation. No one can make it OK for you to feel like you don’t love yourself,” she explains. This new album is the body of work of which she is most proud, as we are seeing the many sides of Moonchild Sanelly. “That’s why it’s called Full Moon”, she says, adding, “A lot of South African music is about dance and forgetting your problems. My vulnerability is about me finding words to describe situations that I used to say f*** you to, when I didn’t have previously to express them because of how dark they were to get into this journey.”

Full Moon is a collection of 12 songs which displays Sanelly’s unique sonic finger print, joyous attitude, distinctive vocals and genre-bending hits, not forgetting a glorious aesthetic crowned by her signature teal-coloured Moon Mop.

 

The tracklisting for Full Moon is:

  1. Scrambled Eggs
  2. Big Booty
  3. In My Kitchen
  4. To Kill a Single Girl (Tequila)
  5. Do My Dance
  6. Falling
  7. Gwara Gwara
  8. Boom
  9. Sweet & Savage
  10. I Love People
  11. Mntanami
  12. I Was the Biggest Curse

 

Listen to Full Moon here

View details for Moonchild Sanelly’s tour here

 

Press release courtesy of iM4 Agency

Küf Knotz and Christine Elise release ‘Somewhere’ and ‘Patience’

Jan 10, 2025 | New Release, Music

Rapper Küf Knotz and harpist Christine Elise unveil ‘Somewhere’ and ‘Patience’, the second double single taken from their forthcoming, self-released, 4th album ‘Grow’, which is due for release in March 2025.

‘Somewhere’ captures the essence of a love story intertwined with the thrill of exploration. The upbeat melody and catchy hook create an exhilarating atmosphere that mirrors the excitement of setting off on a journey towards the unknown. The lyrics evoke a deep desire to escape the ordinary, to find that special someone who understands the call of the wild and the magic of the moment. From its opening notes, “Somewhere” draws you in with its driving bass, taking you on a sonic adventure that feels both nostalgic and fresh. The playful cowbell, a hallmark of 80s pop, inviting listeners to dance and celebrate the spirit of wanderlust and connection.

‘Patience’ invites the listener to pause and encourages stillness within the labyrinth of life. Blending introspective themes with the rhythmic influences of Philadelphia’s 90’s house music scene, this track creates a house vibe while maintaining a strong hip hop presence. Küf Knotz lays down a soft lush soundscape with heavy drums to cushion Christine Elise’s emotive vocals. Its instrumentation encourages a deep dive into both personal and collective consciousness, serving as a reminder to embrace serenity and appreciate the beauty of existence.

 

Listen to ‘Somewhere’ and ‘Patience’ here

 

Press Release courtesy of Only Good Stuff

ART THEMES | THEME THREE: 2025 – The Year of The Snake

Jan 8, 2025 | Creatives, Art

Serpents are slithering into the limelight in 2025, as the new year marks The Year of the Snake. The Snake is the sixth of the twelve-year cycle of animals which appear in the Chinese zodiac related to the Chinese calendar. In Chinese culture, the Snake is the most enigmatic of the 12 and although serpents have always been linked to a sinister rhetoric,  we could take a leaf out of this Chinese mindset, whereby people born in the year of the Snake are allegedly very intuitive – making 2025 a special year for encouraging all of us to tap into our inner voice.

In this iteration of ART THEMES, we look at a variety of symbols associated with snakes: luck, regeneration, good fortune, intuition, caution, heritage, femininity and superstition, as we make unusual and intriguing connections between artworks and their meanings. Here we go!

“Inkanyamba ii”, Mixed media on Museum Etching, (415 x 335 mm). Original artwork is framed in one-off vintage frame with bronze plaque. Source image provided by Iziko Museums (William Fehr Collection) Artist: Henry Clifford de Meillon, “The Military Barracks on the Parade”, 1825 – 1830.

Anja Venter


“Inkanyamba ii” artwork by Nana Venter was part of her 2020 pop surrealism exhibition “Monsters at the Cape of Good Hope”. According to Road Travel Africa, the Inkanyamba is an indigenous, giant serpent-like creature with a finned mane, huge fore-flippers, a horse head and a fierce temper. The creature is also widely associated with storms.

About the artwork Nana Venter shares with us: “The monsters at the Cape of Good Hope collection is a show I put together in 2020 using colonial era artworks from the William Fehr collection and defacing them with African kaiju (giant monsters). The collection is really about the monstrosity of colonialism, and the erasure of indigenous cultures. Across Nguni cultures, when big storms are brewing, children are told it is the Inkanyamba taking flight: in distress and angry, seeking its own lost child. I enjoyed superimposing the Inkanyamba into this scene of the military barracks in Cape Town – a couple dwarfed in the foreground. There’s a tension and a sense of impending disaster.”

Katharien de Villiers, ‘Grabbing for Dusty Dreams 2’, Collaged fabric and enamel on fabric, 77 × 90cm

Katharien de Villiers

“Grabbing for Dusty Dreams 2” is a playfully styled ‘snakes and ladders’ collaged on fabric with enamel. Through tactile manipulations involving the juxtaposition and de-contextualisation of material, she makes paintings; sculptures and site-specific installations that consider spatial dynamics and the relationship between the work and the viewer. Katherien shares about this artwork, which is available via Art Gazette, “so much is prone to change, and yet so much stays the same. We slither and crawl through the upidi-ups and downs of time, ever made up of the past and the dream-state present. All in all a wonderful trip through the blue.”

Lady Skollie, ‘SOMETHING SWEET, SOMETHING SOUR’, GROOT GAT. 2024. Photography by Amber Alcock. Courtesy of Norval Foundation

Lady Skollie 

‘GROOT GAT’, an exhibition by Lady Skollie, was on show at Norval Foundation in September 2024. This exhibition, in honour of Lady Skollie’s 2022 Standard Bank Young Artist award win, explores her heritage and imagines a realm free from colonial influence.

Groot Gat, also known as “Bushman’s Hole,” is the inspiration behind Lady Skollie’s latest body of work. Situated in the Northern Cape of South Africa, this once-pristine freshwater cave held historical significance as a well and fishing spot for the local Bushman community before colonial expropriation. Today, it beckons risk-taking free divers who aim to set new records in its depths. In Skollie’s art, this abyss takes on profound symbolism: it becomes a metaphor for the intricate layers of her own identity and the broader narrative of Brown identity in South Africa.

“If you’re Brown in South Africa, you have to grapple with a vast void—a chasm of forgotten culture and heritage within your own history,” explains Lady Skollie. “It’s a void you must fill with your own stories, traditions, and even new customs.”

Through her art, Skollie endeavors to bridge the immense gap left by history, oppression, and colonialism. Her Standard Bank Young Artist Award project envisions a fantasy realm on the other side of Boesmansgat. Here, the San, the Khoi, the Griqua, and all Brown people of Southern Africa flourish without the disruptive influence of colonialism and cultural erasure. Lady Skollie seeks to expand on the concept that this cave (and the creatures that dwell within it) serves as a portal to a parallel, reimagined universe filled with mythical creatures. In this specific artwork, “SOMETHING SWEET, SOMETHING SOUR” the artist references flavour profiles central to Cape Malay cuisine and the pastime of playing dominoes in many coloured communities.

‘The Silent Garden of Ouroboros’, 2024, Oil on canvas, 80 cm diameter

Stefania Tejada 

Stefania tells Alix-Rose Cowie how, since she developed an understanding of what women could be, she’s felt the need to create a transcendent image for others to look up to. Being raised in a small Colombian city and attending a strict Catholic school there, painter Stefania Tejada’s view of womanhood was limited growing up. Now living in Paris and inspired by the pages of Vogue and the approaches of her favorite fashion designers, she’s painting a legion of powerful women with the world at their feet. Surrounded by nature and often staring back at the viewer, her subjects are intended to send a message that women can escape the limitations placed on them if they get to know and understand their true selves.

‘The Silent Garden of Ouroboros’ is not merely a vision—it’s a confrontation, a call. It feels especially resonant now, as the weight of the world presses on the voices of women everywhere. In this artwork stands a woman, her gaze unflinching, her silence brimming with force, not submission. 

The artist shares about the work: “In the midst of upheaval, her presence demands attention, a scarab etched on her brow like an ancient memory, like something that cannot be erased. Six serpents coil at her sides, fierce sentinels, invoking Medusa—the myth rewritten, the misunderstood made powerful. Medusa, who dared to look back at a world that chose to demonize her rather than understand her truth. She is the embodiment of all those who’ve been told to quiet down, yet carry within them a history of truths too potent for the fragile narrative around them.”

“This garden, dense and lush, is not a retreat but a sanctuary of strength, a quiet fury blooming in vibrant color. Every flower is a testament to the resilience rooted in silenced places, the places women have been told to dwell in and endure. Surrounding her, the Ouroboros encircles, a symbol of the endless cycle of silencing and resurgence, a serpent devouring its own tail, a reminder that every suppression begets a rebirth. This is not just about survival; it is about transmutation, about enduring until you rise more powerful, more certain. She stands as both warrior and witness, reminding us that silence is not always absence—it is a potent reserve, a readiness, the sharp inhale before the voice that will shatter, the truth that will be heard, unbreakable. In this moment, The Silent Garden of Ouroboros is a prophecy: the world may turn its gaze away, but the feminine force within it will endure, will return, will reclaim its voice.”

Rich Mnisi, Nyoka II (Snake), 2024 , Bronze, glass beads 48.88 x 66.88 x 18.25 in

Rich Mnisi 

With the snake emblem as his logo, prolific sculptural artist and fashion designer Rich Mnisi embodies philosophies of a snake in his work – specifically in his exhibition titled “Dzuvula (Shedding Skin)”. With an emphasis on sculptural bronze furniture and lighting, his work expands on his themes of memory, lineage, mythology and cosmology from his debut collection Nyoka (2021). His work speaks to the interplay between the everyday and the magical, which echoes a duality within us all – hibernation and action, faithfulness and faithlessness, being bound and free. The artist’s Tsongan roots are no doubt channelled into the visual narrative of his pieces, drawing from mythological stories of the origin of life and natural creation.

About his work ‘Nyoka ii’, Southern Guild shares: “A curved console which also first appeared in Mnisi’s 2021 solo, is punctuated by the winding form of a bronze snake, its storage cavity concealed by richly patterned beading inspired by Mnisi’s 2022 Mafamba Yexe fashion collection. Bursts of gleaming bronze are interwoven with insights from the past and the future.” Further to this, Mnisi himself said that every piece of this exhibition reflects the “growing into oneself – risk and vulnerability, strain and ease – through a vocabulary of forms, patinas, patterns and textures.”

 

Each of these artworks reference the serpent as a symbol for the balance of both chaos and calm, rebellion and introspection, regrowth and destruction. Perhaps the biggest takeaway from these works of art and The Year of The Snake, is that 2025 will no doubt bring a number of unexpected twists and turns, but we can be almost certain that some balance will be restored, even if it is the peace we find within ourselves.

 

Written by: Grace Crooks

For more news, visit the Connect Everything Collective homepage www.ceconline.co.za

How to Incorporate WGSN X Coloro Key Colours for A/W 26/27 Into your Wardrobe and Living Space

Dec 19, 2024 | Lifestyle, Fashion

As is CEC tradition, we love peeking at the crystal ball of trend forecasting; particularly those offered by the WGSN and Coloro’s dynamic partnership and their cyclical colour palette predictions.  As the A/W 26/27 season approaches, there is a focus on redirection and challenging old ideas will influence how we engage with colours in our wardrobes and interiors. These hues, selected by WGSN and Coloro experts, reflect this era’s defining themes: opportunity, polarisation, stability, and restoration. Our world is a surreal place, and this time in human history — tempered by technological advancements — should bring us no less than colours that exemplify the strange circumstances of our lives as human beings, on planet earth.

Here’s a guide to incorporating the five key colours – Transformative Teal, Wax Paper, Fresh Purple, Cocoa Powder, and Green Glow – into your wardrobe and living spaces, so you can be miles ahead and live in 2026, before it’s even 2025. 

Transformative Teal’s Stable Fluidity 

Wardrobe ///  Transformative Teal is a blend of classic dark blue and aqua green, with a versatile hue that sweeps across gender-inclusive and transitional fashion. Use it as an alternative dark hue for utility pieces like tailored trousers or structured outerwear. Yes, we live in a time in which teal can actually function as a neutral. For occasion wear, Transformative Teal’s rich tone evokes the energy of jewels; find ways to bring it out in accessories, or simply opt for that wildly bold, teal tone garment that you’ve been afraid to wear until now. The forecasting Gods have given their permission.  

Living Space /// In your living spaces, Transformative Teal works as a grounding and enriching base. Paint an accent wall in this hue to create a focal point, or use it in upholstery for sofas and armchairs. Teal, like its trend predecessor emerald green, pairs incredibly well with metallic accents like brass or copper that highlight its depth. She’s got range, so  combining teal with natural materials like rattan and wood also works for a more balanced look. For a more playful and less permanent approach, incorporate Transformative Teal through smaller decor items such as cushions, rugs, or ceramics. We are all about non-committal participation when it comes to colour trends.

TRANSFORMATIVE TEAL by WGSN x Coloro, via wgsn

‘Transformative Teal’ showcased by Acne Studios SS25, via gorunway

Wax Paper’s Subtle Contemplation 

Wardrobe /// Wax Paper’s creamy yellow and off-white tones lend themselves to a soothing, near-neutral palette. This shade is ideal for layering basics, and its warmth pairs beautifully with other neutrals such as beige, taupe, or grey; we love a monochrome moment, for is there anything more chic than the absence of colour? 

Living Space /// Wax Paper brings a sense of calm to interiors, making it perfect for spaces dedicated to relaxation. Use it for bedding, curtains, or area rugs to create a serene bedroom or living room. This shade also works well in kitchens or bathrooms, in which its soft glow can mimic natural light. Enhance its warmth with subtle lighting, like soft yellow LED strips or vintage-inspired bulbs. Seriously, if you’re not lighting your home with anything but soft yellowing light — I don’t know what to say to you. I am highly and extremely harsh lighting adverse, and you should be too. 

Fresh Purple’s Bold, Phygital Energy

Wardrobe /// Fresh Purple’s royal presence is interesting — given that purple has taken a back seat for the last few years. We can now give full Prince energy with bold suits, or activewear sets that harness this colour’s energy. As an accent, Fresh Purple injects a dose of joie de vivre into any outfit. 

Living Space ///  Use  Fresh Purple sparingly to avoid overwhelming a space, opting for decorative pieces such as vases, artwork, or throw pillows. Its glossy finish adds a playful touch to home decor, while its connection to creativity and spirituality can make it an intentional choice for personal spaces such as home offices or studios.

‘Fresh Purple’ exemplified by Bluemarble SS25, photographed by Umberto Fratini, via gorunway.com BlueMarble

FRESH PURPLE by WGSN x Coloro, via wgsn

Cocoa Powder’s Nostalgic Warmth

Wardrobe /// I have never been more ready for brown’s revival in our cultural colour palette. Cocoa Powder’s red-toned brown is such a classic and incorporates this hue into pieces like trench coats, shoes or better yet —the whole damn look. Be not afraid of monochrom-ing brown, in all its shades. Its warmth complements a wide range of colours, from neutral tones like cream and tan to brighter shades like ochre or burgundy. 

Living Space /// Cocoa Powder evokes a sense of nostalgia and grounding. Use it for larger furniture pieces, such as wooden dining tables, leather sofas, or bookshelves. I have recently made sure our bedroom cupboards ooze this creamy, warm shade; oh-so soothing for your sanctuary. Cocoa Powder pairs beautifully with earthy materials like terracotta, linen, or wood,  and considers metallic finishes or glass elements that contrast with Cocoa Powder’s organic feel. Is anyone else also completely besotted with stainless steel as a material, in any size or shape?

Green Glow’s Hypnotic Brightness

Wardrobe /// Green Glow is a high-energy, responsive bright that adds a wild pop of colour to any outfit. Use it for bulky statement pieces like puffer jackets or raincoats, and you best believe we are going to see this colour pop up in its rightful space; in the sneaker realm. If anything can tell us just how cyclical trends are it’s the return of neon, which most of us millennials thought would never see the light of day again. Then again, this is probably how exactly people felt after the 80s. 

Living Space ///  Green Glow could bring a futuristic and electrifying edge to interiors, but be gentle and non-committal in your approach. Use it sparingly for maximum impact; think neon signs, LED strip lighting, or small decor items like photo frames or cute desk accessories. This colour is especially effective in spaces designed for creative pursuits, such as home or creative studios. CEC has been known to inject a note of neon, too; we’re eclectic and cute like that.

As always, our disclaimer in reporting on trends is such; these are but mere guides that demonstrate how our world can be distilled into a few colours, intended as a compass that helps us tap into our collective mood. Use it, don’t use it — we think it’s pretty cool that our world is as colourful as it is, and that human beings are like little moths for this ever-changing kaleidoscopic experience of life. 

Written by: Holly Beaton

For more news, visit the Connect Everything Collective homepage www.ceconline.co.za

Curation and Creativity in the Age of Overwhelm

Dec 17, 2024 | Lifestyle, Creatives, Community

“Material for our work surrounds us at every turn. It’s woven into conversation, nature, chance encounters, and existing works of art. When looking for a solution to a creative problem, pay close attention to what’s happening around you.” – Rick Rubin

There’s a reason why people like Rick Rubin have meant so much to creatives in contemporary times. He took something liminal like creativity, with all its profound author-genius associations, and turned it into something more tangible and practical than a sudden act of God. He widened its scope to let it be, yes a praxis, but also a perspective. For Rubin, it’s a way of being in the world, of carefully adapting your stimulus until you have the input necessary to produce. His viewpoint is nothing new as years prior, it was Rilke whose musings reminded us of how daily life primes the creative act. 

For Rilke, creativity was prepared in solitude, embracing the seasonal fluctuations, spending time in the natural world. In Letters To a Young Poet, he said, “Seek those which your everyday life offers you…use, to express yourself, the things in your environment, the images from your dreams, and the objects of your memory. If your daily life seems poor, do not blame it; blame yourself, tell yourself that you are not poet enough to call forth its riches; for to the creator there is no poverty and no poor indifferent place.” 

Writers like Rubin, Rilke, Didion, De Botton and hooks have been saying eternally how creativity is interwoven in one’s ability to notice, to be, to make sense. As hooks says, we must “theorise the meaning of beauty in our lives”. They all share the understanding that creativity is not just a phase that one dips into — rather, it is an ability to cultivate, curate and finally produce. But stepping back isn’t so easy. When everybody seems to have already done something of value, and you want to make your mark, how do you bridge the call to observe with the desire to build it yourself?

 

Image courtesy of Pexels

Imagery courtesy of Pexels

Accepting the role of “audience member” is difficult, especially if you’re creatively inclined. We’re constantly witnessing perfectly curated lives and projects online. The glamour of getting swept up in the control room is endlessly tempting. There’s a desirable finesse in rearranging and advising, standing at the back of the booth and strategically wielding the tools around you. It’s no wonder that everyone is taking up DJ’ing, pottery classes, or collage. We are a generation of busy-bodies. But for all of our targeted intentions and clever ideas, a desire for control sometimes overpowers our ability to absorb the information around us. This is where creative block happens, where one may begin to feel useless. 

Unprecedented throughput has resulted in a productivity level that was previously thought impossible. In our electric renaissance — where any word, image or idea is immediately available — observation is often deprioritised by activity. So much so that choice overload and decision fatigue has become a norm, and ‘doing too much’ has become a means of coping. We want to bear the title of custodian, facilitator and producer. It looks good in our bios and even better in our niche. This desire to participate is (mostly) genuine. But at what point do we recognise that sometimes our best contribution is simply to connect the dots, and transform it in the process, not through change but through mere understanding? 

Any self-sustaining culture requires not only an artist but also an audience. Likewise, for a product to survive, it must be received, relished and reinterpreted a thousand times over. For this to work, you must become desperately comprehensive, reading at a sign-level. Most of us are quite good at this. We know how to consume. We also know how to repackage, plug and play in a new context, with a new meaning and a new profit margin in mind. Perhaps this is a side effect of information overload or an evolution of computers. It is not a bad thing. Honestly, it’s a brilliant thing. But its dangers are underscored by its inference that we are only as good as our functional roles, our ability to produce and reproduce at hyper speeds. 

But the most meditative people know that creative power lies not just in productivity, but also in passivity. For example, the curator’s ability to, yes rearrange, but then also to be quiet. To let the work speak for itself. When seemingly every cultural product is a result of thousands of references, conflictually meshed together in a web of if-you-know-you-know, hanging a gallery wall is a brave way to build a narrative, honour another’s work, and still individuate a point of view in the process.

Image courtesy of Unsplash

Imagery courtesy of Unsplash

When culture can be as simple as selling an aesthetic, creativity can be rediscovered in one’s ability to curate life’s feed, filter out the noise, verify the picture, and prove that ‘I am not a Robot’. Personal collections, prints and journals piled on the surface of your Marketplace desk, a dewi-decimal bookshelf or a categorised Dropbox — these are human curations that challenge any algorithm and go beyond content created for an engagement market. This is why we palm stickers onto lampposts, ponder at exhibitions, log our novels on Goodreads, and leave reviews on Letterboxd. Without these memos and windows, you could imagine how easy it would be to lose ourselves among the many expressions of a fluctuating social experiment. 

There is significance in receipts and archiving. Creativity is, also, the art of noticing — an instinctive ability to draw the external back to the centre. Perhaps we just don’t always see the value in this curatorial, lived act because our ancient libraries and babel archives now float in are.na accounts, four-hour playlists, and saved folders. Regardless, each little piece of knowledge tucked away for later contributes to an ecosystem of living ideas, seed for dormant land. 

Without this, we wouldn’t be able to build something new. To create is to collect, and thus to transform — to search for something bigger than the sum of its parts and then make it whole. In the process, we make evident our membership to both the audience and the operation. In spectatorship and reinterpretation, we affirm the value of mythmaking in a holistic practice that can, hopefully, result in new citations. 

Much like a writer pulls threads together in the hopes of weaving a narrative bound by gold, participants in a rapidly evolving culture know too well that if you are struggling to make, then you must at least pay attention. Watch closely. Put the pictures on the wall and then draw the line. Read and read and read until the synapses spark at the connection of red and blue. Take a long walk. Build the story based entirely on your own misunderstanding, then let the collection of those formative moments become a mirror to you, a reflection of your hybridity, your capacity for collaboration. Until finally, when you’re ready, you can’t help but carve out your own meaning on its surface. 

Written by: Drew Haller

For more news, visit the Connect Everything Collective homepage www.ceconline.co.za

MOONCHILD SANELLY RELEASES NEW SINGLE ‘TO KILL A SINGLE GIRL (TEQUILA)’ AND ANNOUNCES TOUR DATES

Dec 13, 2024 | New Release, Music

Moonchild Sanelly has shared a new single titled ‘To Kill a Single Girl (Tequila)’ taken from her new studio album ‘Full Moon’, set for release on 10th January 2025 via Transgressive Records.

‘To Kill a Single Girl (Tequila)’ is the fourth single from Moonchild’s new album – “a sweepingly melodic power ballad about the dangers of alcohol-fuelled truth-telling” [THE TIMES] – with a video shot on location by director Jesse Roth in London earlier this month during a stop on her recent whirlwind UK club tour. ‘To Kill A Single Girl (Tequila)’ is a break up song with tequila and exhibits Sanelly’s wordplay and lyrical prowess, as well as the sense of humour she brings to even the most serious of subjects.

Moonchild said: “I had to let go. I’m always truthful but I had unnecessary thorns when it came to my truth, it was potentially ruining my relationships” 

Following on Moonchild Sanelly will take her incomparably joyous live show on the road next year with a 2025 headline tour of the UK and Ireland opening in Manchester on 18th March, ahead of dates in Dublin, Leeds, Glasgow, Birmingham and Bristol, before a return to London for what promises to be an unforgettable night at Heaven on 26th March. 

 

UK & Europe Tour Dates 2024/2025:

7 November: Alien Disko, MUNICH, GERMANY

18 March: YES (The Pink Room), MANCHESTER, UK

20 March: The Grand Social, DUBLIN, Ireland

21 March: The Wardrobe, LEEDS, UK

22 March: King Tut’s, GLASGOW, UK

24 March: Hare & Hounds, BIRMINGHAM, UK

25 March: Strange Brew, BRISTOL, UK

26 March: Heaven, LONDON, UK

1 June: Might Hoopla (Queertopia stage), LONDON, UK

24-27 July: Truck Festival, OXFORDSHIRE, UK

25 July: Deer Shed, TOPCLIFFE, UK

31 July-3 August: Kendal Calling, CUMBRIA, UK

Book tickets here

 

Listen to ‘To Kill a Single Girl (Tequila)’ here

 

Press release courtesy of iM4 AGENCY

DJ Lag caps off the year with a remix of ‘Yebo’ by Jay Music

Dec 13, 2024 | New Release, Music

The year 2024 has been an impressive year for multi-award winner DJ Lag. Since the release of his viral, multi-platinum single “Hade Boss” (over 900 million engagements on TikTok) in the lead-up to his highly acclaimed sophomore album The Rebellion, which has amassed over 70 million streams this year, DJ Lag has been on a hot streak. He has embarked on an international tour spanning the USA, UK, Europe, Africa, and Asia, closing off his epic year with a 15,000-capacity show at Drumsheds in London on Friday, Dec 6th.

DJ Lag has been extensively featured in both local and international media, as well as music storefronts worldwide. Most recently, he was highlighted as Apple Music’s Isgubhu artist for 2024, underscoring his contribution to African dance music this year.

He also completed an exciting YFM Summer Residency, bringing his electrifying sound to Johannesburg’s airwaves and featuring standout collaborations with artists like 3-Step Pioneer, Thakzin, Vigro Deep, and Black Motion, delivering unforgettable sets that have expanded Gqom’s reach.

To cap off the year, DJ Lag is releasing an Amapiano and tech-infused remix of “Yebo,” a fan favorite that captured the streets during his Rebellion album rollout. The remix by Jay Music reimagines the original through his Piano-tempoed, hard-hitting drum programming lens.

“I had a short list of people I wanted to flip the original for me and Jay was right at the top of the list… I’ve loved seeing his come-up in recent years and always liked his ability to carve his own path within the Piano world, bringing his signature sound of jaw breaking style of bass and drums to the genre, so it made perfect sense for an energy track like Yebo,” DJ Lag. 

“Working on this remix with DJ Lag was such a special moment for me. As an Amapiano producer, getting the chance to work with one of my biggest inspirations was unreal. Even though we weren’t in the same studio, the energy came through in every beat. DJ Lag’s influence is all over the track, and it was incredible to add my own Amapiano touch to something so raw and powerful. It felt like bridging two worlds—melding the groove of Amapiano with the energy of Gqom. I’m really proud of what we’ve created together and I hope it connects with listeners the way it did for me during the process,” Jay Music.

 

Listen to ‘Yebo’ Remix here

Press release courtesy of Sheila Afari 

Money Badoo Drops New Anthem ‘WAKE UP’ with BabyDaiz

Dec 13, 2024 | New Release, Music

Money Badoo is back with her single, ‘WAKE UP’, collaborating with BabyDaiz. Produced by MashBeatz and BZM, this hard-hitting hip-hop anthem is a bold declaration of hustle, ambition and resilience.

Released through Paradise Sound System, WAKE UP, the second track from Money Badoo’s highly anticipated album M$RYLUVSCMPNY (set to drop in March 2025), serves as a rallying cry for anyone who refuses to be overlooked. With infectious energy, sharp lyricism, and an unrelenting beat, WAKE UP reminds listeners to stay on the grind, pushing forward no matter the obstacles. This powerful anthem is just a taste of what’s to come on M$RYLUVSCMPNY, a 12-track album that has been over two years in the making. Featuring collaborations with South African stars like Una Rams, MashBeatz, and The Big Hash, the album promises to be a bold and emotionally charged body of work that reinforces Money Badoo’s position as a pioneering force in the music industry.

Already a recognized fashion icon, Money Badoo continues to expand her influence beyond music. Her latest track, “WAKE UP,” has been synced with an adidas Originals campaign, further cementing her status at the intersection of music, fashion, and culture. This collaboration highlights her ability to seamlessly merge these worlds, making her a sought-after partner for global brands like adidas, Doritos, and Sunlight.

“WAKE UP” follows her first Afro-pop venture, which captivated fans worldwide and reinforced her standing as a trailblazer in the music industry. With “WAKE UP” leading the way, Money Badoo is poised to make 2024 her biggest year yet. As she prepares to release M$RYLUVSCMPNY, she’s solidifying her place as a trailblazer in both music and culture, continuing to elevate the sound and impact of hip-hop.

Listen to ‘Wake Up’ here

Press release courtesy of Paradise Sound System 

Rita Satch announces her album ‘Meet Me in the Garden’ with singles ‘Breathe’ and ‘Joyride’

Dec 13, 2024 | New Release, Music

Rita Satch announces her forthcoming debut album – ‘Meet Me in the Garden’ with singles ‘Breathe’ and ‘Joyride’. Produced by Felix Bloxsom (Genesis Owusu, SIA) and mixed by 3-time Grammy Award winning engineer Ben Kane (D’Angelo, Emily King), this 9-track offering highlights Satch’s masterful songwriting, weaving RnB, Soul, and enchanting orchestral arrangements together.

Reflecting on the first single, “Breathe”, Satch shares, “This song flowed out of me after meditating on the mantra ‘The most precious and abundant cost least’. I wanted to remind people that the breath—the essence of life itself—is given freely, yet holds infinite value. When we strip away the noise, we rediscover a quiet beauty, where the simple becomes sacred. In a time when anxiety and stress are everywhere and the headlines are overwhelming, the ability to quiet the mind and return to the calm within becomes not just essential, but a lifeline to the soul.”

Listen to Breathe’ and ‘Joyride’ here

Press Release courtesy of Only Good Stuff 

Filming Destination: Cape Town To Welcome A New, State-of-the-Art Film Studio

Dec 12, 2024 | News, Creatives

Cape Town is a globally renowned film production hub and draws international attention for our diverse landscapes and very skilled crews. The city has hosted major Hollywood productions, from Mad Max: Fury Road to Tomb Raider, alongside numerous commercials and series — with a reputation that offers cost-effective yet high-quality production services, making our country a go-to destination for filmmakers worldwide. 

This is set to be enhanced tenfold, as the The City of Cape Town have announced the approval of a lease agreement for a property in Paardevlei, Somerset West, paving the way for the construction of a R900 million film set. Cape Point Film Studios (CPFS) will lead the development, transforming existing buildings into a state-of-the-art film studio meeting international standards; think, a Hollywood-level film studio that unleashes even further possibilities for South Africa’s film industry. Cape Point Film Studios is itself  “the first world-class, custom-built film studio complex in Africa, and has been rated as the best film studio complex of its kind, in the developing world by international production executives,”  so them leading the charge is a huge milestone for the development of our creative economy, with some of the plans for Paardevlei including a specialised sea and underwater sound stage production precinct.

 

Photographed by Rdne, via Pexels

Photographed by Cottonbro, via Pexels

CPFS director Henry F Herring disclosed in a statement that, “we thank the City of Cape Town for taking this journey with us because, as practitioners in the film industry, we know first-hand how fast the content and film-making industry is developing. The need for more strategic interventions, such as world-class sound stages to service this growth, not only helps filmmakers tell their stories, but also contributes substantially to the sustainable expansion of the film sector with its 1:4 multiplier effect to its value chain, all the while creating more jobs.”

South Africa’s creative economy has been a significant contributor to our overall GDP for many years, despite the overall lack of state incentivisation or support. This development is a clear step in the right direction, as a recognition of the globally-respected industry that those in South African film have developed over the last few decades. We can’t wait to see the ways this development assists in growing our local film scene, too — we’re very ready for some South African made blockbusters.

For more news, visit the Connect Everything Collective homepage www.ceconline.co.za