Ilhan Ersahin’s Istanbul Sessions release ‘Galata’ & ‘Karaköy’

Ilhan Ersahin‘s Istanbul Sessions announce their highly anticipated sixth studio album, “Mahalle”, set for release January 16th, 2026, with double single, ‘Galata’ / ‘Karaköy’. Issued on New York’s Nublu Records, the new work represents the band’s most cinematic offering yet, guiding listeners through a sonic exploration of Istanbul’s diverse neighborhoods where tradition meets innovation and the ancient pulse of the city merges with contemporary rhythms.

Frontman Ilhan Ersahin, one of the rare moguls of the New York City underground scene through his influential club and record label Nublu, has spread his New York energy throughout the world. Whether jamming with The Red Hot Chili Peppers in São Paulo, featuring Bugge Wesseltoft at Blue Note Tokyo, or performing elegant oriental sets with Turkish gypsies in European concert halls, Ersahin continues to transcend musical boundaries with masterful eclecticism.

“Mahalle” – the Turkish word for neighborhood – captures the essence of Istanbul Sessions’ genre-crossing artistry. Since 2008, the band has ignited stages across the globe from New York to Istanbul, Paris to São Paulo, London to Skopje, posing questions that challenge musical categorization: Is this really jazz? Doesn’t this sound like a rock band? Their electrifying performances represent master-level musicianship meeting high eclecticism, where the often-clichéd “east-to-west crossover” finds its true sense and power.

The album unfolds as a carefully orchestrated cinematic journey. Album pre-orders launch October 3rd via Bandcamp Friday, accompanied by “Galata,” the first glimpse into this new musical territory. A phased release strategy follows with the digital 45 series beginning October 14th with “Galata/Karaköy,” capturing the essence of Istanbul’s historic districts where the Golden Horn separates ancient and modern. The second digital single, “Yeditepe/Asmalı,” arrives December 2nd, navigating from the city’s legendary seven hills to intimate cobblestone streets.

Listen to ‘Galata’ / ‘Karaköy’ here 

Press release courtesy of Only Good Stuff 

MOb Returns with New Single ‘Tipping Point’

Greek trio MOb returns with new single “Tipping Point”, offering a first taste of their highly anticipated album “MOb II”, due out November 28th via Veego Records.

The track features Felipe, a.k.a. Waking Monkey, on spoken word/ rap, while mixing and mastering are handled by award-winning producer Bruno Ellingham (Massive Attack, Portishead), bringing a refined, international edge to their sound.

With its explosive groove, modern influences, and captivating atmosphere, “Tipping Point” marks a bold new artistic direction for MOb and sets the stage for an album that promises to stand out.

MOb is a trio from Athens and one of the most distinctive acts on the Greek music scene. Their name, symbolizing movement and dynamism, reflects their fluid and ever-evolving approach to composition and performance.

 

Their music lies at the intersection of melodic electronic jazz, krautrock, cinematic textures, and exploratory post-punk. Using saxophone, bass, drums, synthesizers, and live electronics, they craft multi-layered sonic landscapes. Their compositions are characterized by open forms, with improvisation navigating between melody and sonic experimentation.

MOb has performed at festivals and venues such as the Athens Jazz Festival, Athens Epidaurus Festival, Jazz Jantar Festival, Microcosmos, among others. Their live shows are immersive and intense, showcasing their experimental edge and creative ingenuity.

Their debut album, “MOb1”, received outstanding international reviews. The Guardian described it as “a thrilling example of contemporary jazz,” while Avopolis named it the best Greek album of the year 2023. On BBC Radio 6, Gilles Peterson praised their work as a “great group from Greece,” with other critics noting the trio “sounds like a full orchestra of experimentation”.

Listen to ‘Tipping Point’ here

Press release courtesy of Only Good Stuff 

Hollie Cook releases ‘Shy Girl’

Almost fifteen years since the release of her self-titled debut LP on Mr Bongo, reggae’s orator of love Hollie Cook is returning to the label for Shy Girl, her fifth studio album and her most authentic yet. Woven with tight grooves, beautiful vocals and catchy melodies, ‘Shy Girl  hears singer and songwriter Hollie Cook revel in her contemporary Lovers Rock sound, more confident and open to vulnerability than ever before.

A sun-drenched exploration of love in all its guises, Shy Girl tells stories of the magical and the melancholy, the heart-lifting and heart-breaking, across 12 analogue reggae compositions – the culmination of a soft-hued and instantly recognisable “tropical pop” sound that Cook has made her own.

Put together across three years and four cities – from LA and NYC, to Vejer de la Frontera in Spain and Cook’s hometown London – Shy Girl was written with long-time collaborators, The General Roots Band, and features a contribution from legendary dub MC Horseman, who lends his voice to the album’s first single ‘Night Night’.

The album opens with the title track ‘Shy Girl’, a buoyant and elastic slice of lovers rock that was written in a moment of spontaneous intuition, and bubbles with a charisma and positivity that Cook radiates. “I’m not a natural show-off,” Cook explains. “The Shy Girl theme is me. It’s just about being my most vulnerable self and being as true to the music that Iove as possible.” It is this honesty which shines throughout, from the chugging deep dub of ‘Frontline’, complete with raking electric guitar lines, to the bittersweet roots ballad ‘We Share Love’, which closes out the album.

It’s clear to see that Cook’s songwriting draws on a lifetime of musical influences and inspirations. From her father, Sex Pistols drummer Paul Cook’s record collection and touring with post-punk icon Ari Up’s The Slits, to her love for strong female-led pop music and the bassweight of London’s sound system culture. Enamoured with the music of Janet Kay and Phyllis Dillon, Shy Girl represents a homecoming and a coming-of-age for Hollie Cook, distilling and refining a shimmering reggae sound that will capture your heart, as it first captured hers.

Listen to ‘Shy Girl’ here

Press release courtesy of Only Good Stuff 

Alemeda collaborates with Doechii on “Beat A B!tch Up”

Alemeda releases “Beat A B!tch Up” bringing TDE labelmate Doechii into the fray for a high-voltage collaboration. Written entirely by Alemeda and Doechii, the two trade verses about the lengths they’ll go to for the people they love – transforming protection into aggression, care into confrontation. It’s an exploration of bonds that transcend romance, where platonic love becomes just as fierce and uncompromising as any other… because loyalty isn’t cute, it’s lethal.

On the track, Alemeda shares “”Beat A B!tch Up” is about caring so deeply for someone that you’d do anything for them, even if they wouldn’t do the same for you. Obviously, the title is not literal, it’s more about how far I’d go to show up for people, even when it hurts me.” 

The music video, directed by Omar Jones (Doechii & JT – Alter Ego), was shot in San Pedro harbor and follows Alemeda and Doechii aboard a ship, running the show with an all-female band in tow. It’s a world where women call the shots – and they look absolutely lethal doing it.

About the video, Alemeda shares “Filming the video was such an incredible experience. I’d never been on the back of a jet ski before (I was low key scared ’cause I can’t swim) but I wanted to push myself to get the best shots possible. We even had a trained cat on set, per my request. Doechii looked stunning and brought such powerful energy – she gave me amazing direction throughout. And I am obsessed with the firework scene.” 

The single is the latest track from Alemeda’s upcoming project, But What The Hell Do I Know (Nov 7, out via Top Dawg Entertainment/Warner Records) – a fearless collision of pop-punk energy, introspective lyricism, and genre-defying ambition. Growing up as the eldest daughter in an East African family, split between Ethiopia and Arizona, Alemeda learned loyalty, love, and life lessons the hard way – channeling all of it into her music. With Doechii and Rachel Chinouriri in her corner, literally and sonically, she transforms personal truths into anthems that punch, provoke, and resonate. 

But What The Hell Do I Know Track list: 

  1. 1-800-F**K-YOU 
  2. Beat A B!tch Up ft. Doechii 
  3. Chameleon ft. Rachel Chinouriri 
  4. Happy With You 
  5. I’m Over It 
  6. Losing Myself 
  7. Stupid Little Bitch 

ABOUT ALEMEDA: 

Calling on her pop, rock, and indie sensibilities, this self-proclaimed “cat mom” creates music as a form of self-expression and empowerment. She first turned heads with her 2021 UK garage single “Gonna Bleach My Eyebrows,” which has over 14 million streams. Her 2024 debut EP FK IT, blends rock, lo-fi indie, and unflinching storytelling solidifying Alemeda as one of the most fearless artists in music. Known for her candid lyricism and creative production, Alemeda has earned critical 

acclaim and opening slots for Halsey and Rachel Chinouriri. As noted by Complex, “As a Black woman who proudly embraces alternative sensibilities, she’s challenging stereotypes and creating space for more diverse representations in rock and alternative music… Alemeda is a rock star on the rise.” 

Watch the “Beat A B!tch Up” music video here

Listen to “Beat A B!tch Uphere

Press release courtesy of Reliable PR

Design Week South Africa is back in Cape Town 23-26 October 2025

Curate your experience from a dynamic creative programme as Design Week South Africa 2025 lands in Cape Town for the second year. 

Cape Town, South Africa – From 23 – 26 October, Design Week South Africa 2025 will travel from a successful run in Johannesburg to the Mother City. 

The official opening party will be held at One Park on Friday 23 October, with DJs from both Cape Town and Johannesburg, while the closing party will be held on Sunday 26th at Cape Grace Hotel with Jazz Alley.

In partnership with Bielle Bellingham, Design Week South Africa’s Simone Schultz has curated The Things We Love exhibition — a collection of local creatives’ favourite South African designed and made items intentionally chosen from their homes. Participants include Masego Morgan, Koos Groenewald and Onesimo Bam. The exhibition will run over the course of Design Week South Africa at 107 Castle Street.

Following a successful launch in Johannesburg, Morning Sessions is a new format that brings dialogue out of a formal stage and into the city’s cafes. Each morning from Thursday to Sunday (9:00 – 10:30) over coffee at Max Bagels at One Park, leading creatives will share the ideas, challenges and inspirations driving their practice over coffee at Max Bagels at One Park. Joining the conversation in Cape Town are guests including Yoko Choy, Wallpaper China, Amy Thompson, Yes & Studio, Max Melville, The MAAK and Star Shongwe from The V&A Watershed.

Ari’s Listening Room will pop up again at TONIC’s Cape Town showroom, with sound by Bang & Olufsen. Running from Thursday to Saturday, each two-hour listening session will be facilitated by an artist and vinyl collector. 

Exclusive studio tours include designers Laurie Wiid of Wiid Design, Ploy and Guy of Hoi P’loy, Heather Moore of Skinny laMinx, and a tour of the new mixed-use Longkoof Precinct in Park Road by dhk architects and Studio Mass. 

All imagery courtesy of Design Week South Africa

Other highlights include launches by Cape Cobra, Curacion Collection, Yamkela Mhlelehlele and a MAISON KOTR installation – supported by CEC – at Arthur’s Mini Super in Sea Point. Furniture designer Tshidzo Mangena of Locha Design will launch his new outdoor furniture collection, Akan, with a lounge installation activating the street outside One Park in Park Road on Friday 23rd October. 

Design Week South Africa Founder Margot Molyneux says, ‘The programme is intentionally dense, offering a rich mix of events and experiences. Attendees are encouraged to curate their own journey through the four days when the city itself will be alive with activity, offering countless ways to engage and explore.’

Beyond the City Bowl, Open Langa kicks off on 26 October 2025 with a special Open Streets Day, transforming King Langa Libalele and Lerotholi Avenue into vibrant, car-free public spaces to walk, play and connect. Anchored by the ReBuilt Cape Town exhibition at 16 on Lerotholi by Bauhaus Earth and local partners such as the Masakhe Foundation and African Centre for Cities, the exhibition will be open to the public, and on the 26th the road will be pedestrianised and closed off to cars.  

The Active Mobility Forum will lead a community ride from both the CBD and Khayelitsha, marking the start of weekly street closures that celebrate movement, culture and the reimagining of Cape Town’s streets for people.

And for the first time since its launch, the Soweto-Caracas Community Centre will open to the public for a special site visit on Saturday 25 October. Hosted by Young Urbanists and Urban Think Tank Empower (UTTE), the visit offers a rare look inside this landmark in community-led design and local upliftment in Khayelitsha. YU and UTTE will partner with Loop Taxi to provide transport, with security on site. RSVP is essential, as seats are limited to 39 people at a small cost — all proceeds will go directly to the local community.

Young Urbanists member and Design Week curator Roland Postma says, ‘It’s important for any contemporary design programme to be as democratic as possible for the public to interact, but also include design related topics like urban planning to architecture. South Africa is largely an urbanised country, and design holds the keys to not only address apartheid spatial planning but also to forge the contemporary African city — one that doesn’t simply copy the extractive, consumption-driven urbanism of malls, gated estates and golf courses that have drained life from our streets and polluted our cities. Through Design Week, we seek to empower young designers and challenge what the South African dream could be through the better design of our physical spaces.’

Proud sponsor of Design Week South Africa 2025 in both cities, the V&A Watershed encourages visitors to come and see Cape Town’s design story next week. The hub has brought together 300 small creative businesses, where they can share their stories and products with visitors from home and around the world. Over the four days, enjoy an art walk, photo walk, craft and conversation corner, the Artist Alliance Creative Allies exhibition, Zeitz MOCAA tours, a MADE creative workshop featuring Nammu Ceramics, Pichulik and Suzanne Elizabeth, Watershed Maker-led experiences, and more talks. Attendance is complimentary but you must RSVP to secure your spot.

All imagery courtesy of Design Week South Africa

ABOUT THE TEAM :

Design Week South Africa 2025 is curated by South Africans passionate about this country’s design sectors, the creative economy and growing pride and acknowledgement of South African and, more broadly African, design. The core team comprises Margot Molyneux, Zanele Kumalo, Roland Postma and Simone Schultz, while a broader advisory team, including local and international industry leaders, has also been formed, with members announced later this month. 

More about the core team:

Having spent 10 years building her namesake clothing studio, Margot Molyneux, a manufacturer and retailer of boutique collections of men’s and womenswear, Margot more recently turned her attention to the world of media, specifically focusing on interiors, architecture and decor, fulfilling the role of Managing Editor of House and Leisure publication and General Manager at independent publisher LOOKBOOK Studio. 2024 brought the launch of, Design Week South Africa, a seemingly natural career transition as she combined her love of design and storytelling with her enthusiasm for the local creative industry and its growth and development.

Since joining the biggest Sunday newspaper and working in various roles at the top lifestyle publications in the country, Zanele Kumalo continues to partner with premium brands to create and lead communities built around the creative economy – art, culture and design. With a twenty-year career in media, marketing and communications that sees her growing the now six-year-old boutique content studio whatzandidnext, she works as the Johannesburg liaison for Soho House Cities Without Houses, a global members club; the founding director of kumalo | turpin, a newly launched contemporary art space in Johannesburg; and on other projects.

Roland Postma believes that building people-first cities is a necessity, not an idealistic goal. With a first class Honours in Urban and Regional Planning from RMIT in Melbourne, he is currently the Managing Director at Young Urbanists NPC, where he aims to inspire a new generation of thinkers and doers around city design and management. Through co-founding the Active Mobility Forum and the public-private partnership Safe Passage Programme with the SDI Trust, he wants to prove that change is possible by providing solutions to local governments around the areas of housing, urban design and transportation.

Following on from her position as editor-in-chief of Asia’s leading design publication, Design Anthology, Simone Schultz brings an international perspective and understanding of the global creative landscape and its evolving narratives. She has spent a decade working with stakeholders in Asia Pacific, Europe, Africa and beyond at the intersection of design and media, helping designers, architects, thought-leaders and brands communicate their stories across mediums, geographies and contexts. Her involvement in Design Week South Africa marks her renewed focus on her home continent, where she will draw on her global experience to help build a window into and a bridge between Africa and the rest of the world. 

Visit Design Week South Africa’s Website here

Follow @designweeksouthafrica on Instagram

The Design Week South Africa brand identity was created by Hoick @hoick. 

Poster illustration by Koos Groenewald @kooooooos.

Press release courtesy of Design Week South Africa

 

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Grace Wales Bonner Named Hermès Menswear Creative Director

For many in fashion, an appointment for Grace Wales Bonner has long felt inevitable; the designer behind her eponymous label is one of the most revered creative voices of her generation, and at just 35 years old, she is now stepping into one of the industry’s most storied roles — as the new creative director of Hermès menswear. The French house confirmed today that Wales Bonner will succeed Véronique Nichanian, who departs after an extraordinary 37-year tenure. Nichanian’s final collection will show during Paris Men’s Fashion Week this January, while the studio will oversee the Spring/Summer 2027 offering before Wales Bonner’s debut in January 2027.

The appointment marks a historic and deeply symbolic moment for Hermès. Known for her erudite approach to design, Wales Bonner has built a universe that moves fluidly between sartorial precision, spiritual inquiry, and cultural reflection. Since launching her namesake brand in 2014, she has become known for weaving together narratives of Black identity, European tailoring, and diasporic heritage — a language of dress that is both scholarly and soulful. Her partnership with adidas has further expanded her reach, bridging the space between luxury and streetwear through a lens of elegance and depth. Personally, I credit the broader industry’s obsession with the slim-line ballet flat and sneaker trend to Grace Wales Bonner — her influence on proportion, texture, and finish has been quietly seismic. The trickle-down effect of her signature use of pony hide and animal prints as central fashion motifs is undeniable; and I’m not alone in thinking so.

adidas Originals x Wales Bonner, one of the most successful collaborations in contemporary fashion, via @walesbonner IG

According to a report referenced by Culted, Wales Bonner’s collaboration with adidas “helped to revive” the Samba, and the Samba franchise contributed to a first-quarter figure of €5.5 billion in 2024 (though that number refers to a broader adidas category rather than the collaboration alone). The Samba’s renaissance — from cult favourite to global phenomenon — is often credited to her reinterpretations of the silhouette, which brought craft and cultural storytelling into the sneaker mainstream.

Pierre-Alexis Dumas, Hermès’s artistic director, welcomed her appointment by describing Wales Bonner as a creative whose understanding of craft and culture aligns with the maison’s own ethos of quiet excellence and curiosity. Wales Bonner, in turn, expressed gratitude for the opportunity, calling the role “a dream realised” and a continuation of Hermès’s lineage of artistry and craftsmanship.

This appointment signals a new promise for the fashion industry, which has long been criticised for its musical-chairs rotation of white, male designers amid a growing demand for genuine diversity and cultural nuance. As the first Black woman appointed to lead a major luxury house, Wales Bonner’s arrival at Hermès gestures toward a meaningful rebalancing of power and perspective within the upper echelons of fashion. We’re holding out hope that this marks the beginning of a ripple effect: one that revitalises the industry through deeper inclusivity, richer storytelling, and a renewed respect for the multiplicity of global creative voices shaping the culture today.

Glass beads and Swarovski crystal necklaces, via @walesbonner IG

Wales Bonner is a tailoring master, but it is equally her strength with accessories that makes her uniquely suited for this role. Hermès is, after all, a house built on leather, craftsmanship, and objects of enduring beauty — from saddlery to silk, and from the Kelly to the cuff. Wales Bonner’s ascendance to a house defined by footwear, jewellery, and bags is somewhat predestined; her sensitivity to material, symbolism, and detail sits in perfect harmony with Hermès’s artisanal approach. We have a gallery roundup of our favourite pieces from the designers’ accessories offering in recent years. 

Pony hair Mary Jane with cowhide print and leather embossed with the WB monogram, via @walesbonner IG

The Jewel Sneaker with snake embossed leather, via @walesbonner IG

Via @walesbonner IG

Via @walesbonner IG

Wales Bonner’s first collection of super-fine jewellery, for the Met Gala 2025, via @walesbonner IG

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MOUNT NELSON, A BELMOND HOTEL, PRESENTS THE FOURTH EDITION OF CONFECTIONS X COLLECTIONS

This November, Mount Nelson, A Belmond Hotel, Cape Town presents ‘CONFECTIONS x COLLECTIONS’ (CxC), the highly anticipated annual celebration of slow African fashion. Set across the hotel’s iconic grounds and curated by sustainability-focused platform, Twyg, CxC welcomes guests to witness an expression of contemporary African luxury. The Mount Nelson has established itself as a hub for cultural innovators, using fashion as a vehicle to create community and cultural connection over the week-long CxC event.

Now in its fourth edition of CxC (6-8 November), this year’s theme, ‘Our Homecoming’, draws inspiration from the continent’s iconic textiles that embody culture, identity, and community. Honouring the past while shaping the future, CxC 2025 presents a modern vision of African luxury – one that is ethical, locally made and full of meaning. Four pioneering African designers will present collections that reinterpret heritage, craftsmanship, and culture, adding their voices to the global conversation on responsible fashion.

Over three days, Mount Nelson’s elegant halls and lush gardens, set in the heart of Cape Town, will come alive with thematic fashion shows.

Photography by Kent Andreasen

This year’s edition spotlights four visionary designers. Shelley Mokoena of C O N N A D E, recently selected to show at Milan Fashion Week, channels nature, African heritage and architectural form into sculptural womenswear. Trained in Paris, Kenyan designer Anil Padia of Yoshita 1967 draws on his Indo-Kenyan roots to craft intricate, ritual-inspired pieces that celebrate femininity and cultural fusion. South African designer Luke Radloff of UNI FORM brings a modernist lens to indigenous techniques, from handwoven cottons to knitted mohair, creating modular pieces that honour artisanal traditions while pushing African fashion onto the global stage. Completing the line-up, returning designer Laduma Ngxokolo of MaXhosa Africa – awarded internationally for his vibrant knitwear which translates the symbols, colours, and aesthetics of Xhosa heritage.

“Following the success of previous editions, which welcomed the likes of LVMH Prize alumni Thebe Magugu and Sindiso Khumalo, CxC continues to spark dialogue around sustainability and the future of fashion,” says Twyg founder and editor, Jackie May. “We’re excited to bring guests into this world once again.”

A JOURNEY INTO FLAVOUR & FASHION

CxC will unfold through one narrative-driven act per day, each an immersive moment brought to life through curated tablescapes and an unforgettable journey into flavour, fashion, and colour. A bespoke culinary experience accompanies each presentation, reimagining the hotel’s iconic Afternoon Tea for guests to savour, masterfully crafted by Mount Nelson’s Executive Sous Chef, Vicky Gurovich.

“We’re excited to build on Mount Nelson’s distinct legacy through ‘Confections x Collections’, one that welcomes today’s African creative leaders and future innovators to the joyful home of Cape Town,” says Patrick Fisher, General Manager of Mount Nelson. “CxC honours Belmond’s commitment to spotlighting the continent’s talent with the kind of hospitality for which Mount Nelson is famous.”

Photography by Kent Andreasen

CONFECTIONS & COLLECTIONS ORDER OF SHOW:

  •       6th November 2025 – Anil Padia of Yoshita 1967 & Shelley Mokoena of CONNADE
  •       7th November 2025 – Luke Radloff of UNIFORM
  •       8th November 2025 – Laduma Ngxokolo of MaXhosa Africa

Tickets to each act are now available to purchase at R995. Book via DinePlan here

For reservations and more information, contact +27 21 483-100 or email [email protected].

Items from the presented CxC collections will be on display at AKJP concept store on near-by Kloof Street during the three-day fashion showcase.

 

Press release courtesy of Avenue PR

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Princess Treatment and Emotional Manipulation: Is Our Search for Empowerment Getting Toxic?

Heterosexual dating in 2025 is, unsurprisingly, fraught with politics. At a time when gender discourse is deeply dividing, to co-exist as ‘man’ and ‘woman’ – and to take with it centuries of social and cultural conditioning– is to question the foundations of love, equity, choice and reciprocity. 

Despite the critical consciousness of our new age, most women are born dreaming of a Prince. Whether he looked like Chad Michael Murray or an animated frog, he represented love and destiny, and more than anything, the safety and security of the Provider. Beyond the companionship and the passion, the romance and the epic fairytale, the Prince symbolises access to wealth. Try as we might to euphemise these economic agreements, in reality, the story book model disguises the call for a saviour. For the girl with no money, no prospects, and who’s already a burden to her parents, romance is but an added bonus. 

Post-first-wave feminism, post-voting rights, post-gender parity evolutions, the Prince returns. With him, stands the Princess. Call it a byproduct of economic uncertainty, the rise of right wing politics, or the success of Nara Smith’s PR manager, but suddenly women are looking for providers again. You only need to watch one episode of Love Is Blind to know that most women, even the successful Sparkle Megan types, want royalty treatment (or else). 

Imagery courtesy sourced via Pexels

‘Princess treatment’ became an online fad just 5 months following conservative election wins in the United States. It began with a woman named Courtney Joelle, whose viral 6 minute TikTok video caused a stir when she stated that, to feel like a ‘princess’, she’d let her man do everything for her, including opening doors, ordering her food, and managing her money. She described it as, “letting your husband lead and be masculine.” Her tips and tricks epitomised Tradwife aspirations, veiling weaponised incompetency, infantilisation and dependency as “femininity.” She recommends communication cut-offs, quietness and feigned helplessness to ensure that he stays interested and “obsessed”.  

On the other side of the radicalised dating spectrum, misandrists mocked the trend by setting their partners up to answer ‘bare minimum’ or ‘princess treatment’ to a selection of high-value services. If he answered wrong, he’d be pushed into a pool or sprayed in the face with a high-pressure garden hose. The more I clicked, the more I saw a concerning amount of prejudice and resentment reveal itself. Examples started with nasty but potentially harmless ‘Short King’ hatred, and finally devolved into some pretty outrageous Machiavellian strategies on ‘How To Make Him Obsessed With You’ (basically, how to neg someone) using your ‘Dark Feminine’ aura. 

Indoctrinations on both sides of the political extreme see women either suppressing their independence to allow masculine control, or using their femininity to gain their own. ‘Princesses’ are well-resourced, and unashamed of using manipulative tactics to get their Soft Life. We’re a long way away from the 1950s kitchen appliance advertisements that once mediated a woman’s role as nurturer, mother and wife. Yet, at their core, these trends function on similar assumptions– and although I know some of them are only satirising heterosexual dating, they leave me up at night, anxious with ideology. I find myself asking, what do women want? Or more specifically, what do feminists want, and what did we get instead?

During the first-wave movement, we asked for the right to vote (but failed to account for intersectional oppressions in class and race). During the second-wave movement, De Beauvoir and Friedan inspired wider emancipation: a radical reformation of gendered conditioning, not only in our state, workplaces and economy, but in our homes. Some more radical thinkers like Firestone proposed that a complete renunciation of biologically-defined reproductive roles were the only solution for centuries of subjugation. To save myself from a life of conformity, I must reject the role of the nurturer. To prove my independence, I must equally refrain from needing. Tough ask. Today, we’re more tempered. Thinkers like Butler speak of gender as a cultural performance, distinct from sex, which we can put on and take off. 

Among each school, one critical downfall is increasingly clear. As Didion so controversially stated in her short story, Women’s Movement: “The have‐nots, it turned out, aspired mainly to having”. Behind the veil of reform and empowerment, some women are taking their newfound choice, and using it to reinforce the same oppressive systems in new, insidious ways. These paradoxes find embodiment in schools of thought such as choice feminism, which often ignores the structural, capital realities of patriarchy that keep many from benefitting in the same ways. 

The regurgitation of women’s empowerment, embodied by fads like Princess Treatment, prove that beyond historic ambitions to dissolve gender, the dismantling of class might remain more difficult. The pull of capitalism and the soft life appear stronger than hopes for equal opportunity. As Celine Song said, “capitalism is trying to colonise our hearts”. 

As harmless as it may seem, Princess Treatment glorifies everything we once contested: the imbalance of effort in a relationship, the materialist and transactional nature of domesticity, and the classist underpinnings of gender performativity. Somehow, somewhere, we managed to turn a resistance effort into a new, hybridised power play where the woman gets it all and the man should consider himself lucky enough, privileged enough, to give. What does this misguided attempt at gendered redress imply? Ana Akana answers, “The idea that empowerment involves appropriating the techniques by which you yourself were oppressed.”

The flipped script of hetero dating in 2025 is not much more than an UNO-reverse on the gendered expectations of a conservative era. With enough normalisation, princess treatment will only reinforce a pre-existing belief that women can’t do hard things without help, while strengthening a malicious male population’s approach to coercion and control through capital. 

There’s something frightening about how quick we are to mirror a broken system and call it ‘justice’, instead of repairing its root failures. As Sakeenah theorises in an analysis of Sabrina Carpenter’s latest album cover, “In a post Roe v. Wade world, where the average guy of 35 and under is red-pilled, we’re tired of being sold female objectification as ‘empowerment’.” I wonder, can resistance really be labelled resistance if it still uses the male gaze to its benefit? 

Now listen, as choice becomes a fossil of global liberal politics (particularly in the U.S.), it is undeniable that women must become increasingly strategic in their efforts to retain power, protection and safety. Radical resistance is neither a possibility, nor even a goal, for us all. In an age of economic fluctuation, political crises and volatile regressions to basic human rights, Princess Treatment is a consolation prize for the misogyny purported by Andrew Tate and other platformed offenders (including the President of the United States of America). And unfortunately, for many women in strict climates, speaking up may only expose them to heinous attacks on liberal values. So, if your own indiscreet way to harness power is through the embrace of gendered norms, and a comfortable quiet resistance within the realms of your assigned label, then so be it. Ultimately, it is each individual’s prerogative to embrace or deny their social conditioning in what Butler calls the ‘living paradox’ of gender. 

But if you are lucky enough to live with more agency, and a partner who embraces shared freedoms and ambitions, then perhaps it’s worth asking whether these material negotiations align with the equity we once hoped for. So, spoil her if it makes you both happy, but also look to redefine love. Ask yourself, how can we sustain each other? How can we make up for each other’s lack? If what we really want is to be acknowledged, seen and sustainably cared for– ethically, and with cultural sensitivity– is economics the best way forward? Or can we also prioritise reciprocity, partnered wellbeing and emotional fulfillment? So long as we continue to imbue bravado and pride only on those who pay the bills, we risk reducing love to not much more than proposition and contract. After all, at a time when it is easy to be embittered by the cruelty of our Nightmarepolitik, it is choice, equity and reciprocity that remains most critical, perhaps now more than ever. 

 

Written by Drew Haller

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Strei Teams Up with BabyBoy AV on New Afrobeats Single ‘Crazily’

Rising Afrobeats sensation Strei continues his meteoric rise with the release of his highly anticipated single, ‘Crazily’, featuring Nigerian star Babyboy  AV.

“Crazily” finds Strei blending smooth Afrobeats vibes with his signature Afromood touch, while AV adds a fresh spark that makes the record instantly stand out creating a push-and-pull dynamic that makes the track both intimate and universally resonant. At 2 minutes and 29 seconds, it’s a compact dose of emotion and energy that demands a replay.

“Meeting AV for the first time in the studio felt natural,” Strei recalls. “The vibe was effortless, and we drew straight from our recent love experiences.” That spark is felt throughout “Crazily”, where the balance between the two artists feels organic and complete.

In under a year, Strei has emerged as one of Afrobeats’ most exciting new voices. His debut EP, “I.T.A.M. (Introduction To Afro Mood)”, didn’t just introduce his self-coined genre  it debuted at #6 on Spotify’s Top 50 Viral Chart and crossed 15 million streams in six months. To date, he has amassed more than 22 million streams across platforms, building a loyal fanbase drawn to the emotional honesty and fluid rhythms of Afromood.

With “Crazily”, Strei signals the next chapter of his journey. His upcoming EP promises to push Afromood even further, with bold, unexpected collaborations that expand the sound beyond traditional Afrobeats boundaries.


As AV’s dynamic voice intertwines with Strei’s soulful delivery, “Crazily” stands as both a testament to Afrobeats’ collaborative spirit and a reminder of the genre’s limitless emotional range.

Stream “Crazily” now on all major platforms here.

Connect with Strei:
Instagram
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YouTube

 

Press release courtesy of Sheila Afari PR

NOVINE Releases ‘Shot Me Down’ and ‘Therapy’ (ft. Braxton Cook)

Following the success of her acclaimed EP Daydreaming — which broke into the Top 20 of the UK Global Soul Charts and Amazon UK’s R&B Hot New Releases — rising R&B/Neo-Soul artist NOVINE unveils two powerful new singles this fall: “Shot Me Down” and “Therapy” feat. Braxton Cook.

Born in Heidelberg and now based in Berlin, NOVINE draws from both her Jamaican and German roots, blending warm grooves, floating vocals, and introspective lyrics into a dreamy yet grounded sound. Inspired by the likes of Prince and Sade, her music speaks to themes of vulnerability, healing, and love, all wrapped in mellow Neo-Soul textures.

Her new single “Shot Me Down” is a soul-soaked slow-burner, pairing NOVINE’s emotive vocals with BK Andersen’s crisp yet atmospheric production. It’s an intimate portrayal of heartbreak, strength, and self-reflection — a fitting follow-up to the emotional depth of her Daydreaming EP.

“Therapy” finds NOVINE joining forces with renowned saxophonist and producer Braxton Cook (known for collaborations with Tom Misch, Christian Scott aTunde Adjuah, and others). The track channels a rich, jazzy palette and speaks to the need for emotional release, offering sonic comfort for anyone working through their inner world.

With previous live support for artists like Noname, Kamasi Washington, and Kofi Stone, NOVINE continues to make her mark on the European R&B/soul scene. Her music has garnered praise for its “intimate sound and mesmerising melodies” — and with more new music and shows planned, NOVINE is poised for a breakthrough year.

 

Listen to ‘Shot Me Down’ and ‘Therapy’ here

 

Press release courtesy of Only Good Stuff