Following a steady run of releases, international performances and growing momentum throughout the year, Afro-fusion artist UWA returns with his newest single, “Fallin,” set for release on September 4.

Fresh off the success of his last single, Composure, UWA shows no signs of slowing down. From performing shows across the UK to consistently releasing new music and building anticipation around a rumored EP, his sound continues to become more polished with each release, developing an identity rooted in Afro-fusion, romance and luxury.

Arriving as summer comes to an end, Fallin captures the nostalgia of summer memories while setting the tone for the transition into fall. The record taps into the nostalgia-driven sampling becoming a defining element of Nigeria’s new-age scene, blending modern production with influences reminiscent of early-2000s Afropop.

At its core, Fallin is a romantic record, but its infectious production and rhythm keep it just as fitting for the club. The result is a song that feels nostalgic yet current, bringing together different eras of African music through UWA’s evolving sound.

Fallin represents Afro-fusion at its finest — blending new-age sounds with early Afropop influences while continuing to establish UWA as part of a new generation pushing the sound forward.

“Fallin” by UWA is available September 4 on all major streaming platforms.

Music And Moments with Egertton

Issue 16.0   Sep. 2026

Interview conducted by: Kolade Motirolaoluwa

Design: Chiagozie Mbuba Tochukwu  

Q: To fans,lovers and even people that are meeting you for the first time,who is Egerrton?

A: Egertton is a musician and an all round creative. But basically,I am into music.

Q: Your style of music one would say isn’t normal as it can be seen as unique. How do you describe your music?

A: I feel like my music is unapologetic and there is no direction to it. When I wake up in the morning,I always thank God for versatility. I listen to a lot of songs and I realize that I am able to take things I need to take out of each genre and form  something. Also,at the end of the day,I am a Benin boy which might make my music to be termed as Afrobeats. But apart from that,I feel like I can’t be boxed in my music because I do whatever I want with it.

Q: You are from Benin, Edo State, a place known for hustlers. Would you say this has shaped your music style in any way?

A: Definitely because the times I spent in Benin were very questionable. It was at a time where I understood little to nothing that was happening around. Benin also has various rules and regulations that govern it. So,being a Benin boy definitely made me want to work harder because where I used to stay,by 5-6 am,people are already up for their daily hustle and this definitely impacted me.

Q: You recently dropped your self titled mixtape “Egertton”. It is perceived that any project titled after the artist tends to carry an even deeper story. What is the story behind the mixtape “Egertton”?

A: The main purpose of the mixtape was to reflect on myself. Before the mixtape,I already had singles but I felt like people didn’t really know who I was. I should have dropped the project since but I kept pushing it. However,the main purpose was to focus on me and make people see me for me. Basically,it was me being unapologetic.

Q: What do you intend for your fans to feel when they listen to Egerrton?

A: My spirituality. I feel like music is deeper than you think and I want my fans to feel that. I don’t know how to half bake things so depth is definitely one thing I want my fans to feel.

Q: Is there a song you desperately wanted to make it to the Final Cut of the mixtape but it didn’t?

A: Yes,there was one but I was in a back and forth with my team but then I realized that I shouldn’t add it. It was a freestyle titled “Bad baddie baddest” and it was just a song I made off vibes in the studio. I don’t regret not adding it to the mixtape though because I feel like the project is perfect the way it is.

Q: Although artists often tend to say they love every song equally,we know they often have secret favorites. What is your favorite track off Egerrton and do you have a particular reason for liking it?

A: It changes but right now,my favorite track is “Gangster”. I like it because it is so unapologetic and it reminds me of 2016.

Q: What is your favorite “Mama,I made it” moment?

A: Hmm,that is actually deep because I have so many instances. I would definitely say times when I am out with my mom and fans come to meet me or times when I give my mom bundles. 

Q: You are a diverse artist that likes to dabble into different genres and emotions,however on two tracks on Egerrton,we saw your lover boy side more. Tell us more about this.

A: It was actually three: 16 missed calls,Body Sparkle and Midnight. 16 missed calls was basically just about me being too busy with my music career and ignoring my dating life. With Midnight,It was a song with Indi and although it wasn’t our first song,it just felt like that song and it is a plus that it gives me Disney vibes. Body sparkle was however recorded about 2 years ago but I definitely knew it was going to be on this project.

Q: What was the post production process of the mixtape like? 

A: The post production process wasn’t chaotic. I mean,I can’t really explain how I pick my songs but I feel like my team and I have an understanding with regards to the songs that need to go on the project. I have also learnt how to nurture music and realize that at the end of the day, post production doesn’t have to something too serious. It is more about fun for me.

Q: We know you are proudly a Benin boy but you now stay in Lagos. Tell us a bit about your journey as a Benin boy now surviving in Lagos.

A: One thing about Benin boys is they have a third eye. Benin boys are always active and hustling and I feel like that is why when you see most Benin boys in Lagos,they are always rich. It is a case of no one can really run you street.

Q: When you dropped Egerrton,what did you think the reaction from your audience would be like? And did their reaction differ from the one you had in your head.

A: I feel like everyday,I keep hearing people speak about the project. I mean left to me,I would want the project on a hundred million streams right now but apart from that,I wanted the listeners to see the depth in the project and this has been the case because my core listeners have been hooked on it from first listen. So I feel like they took it the way I wanted it.

Q: You are perceived as a very stylish person,reflects both in your person and your music. If you were to describe your style in three words,what would it be?

A: I would say unapologetic,rebel and Egertton. I say rebel because I feel like what I wear,no one else can wear it. I mean my waist is a size 28 so I can wear anything I want to wear.

Q: You were a child model and you have now morphed into several other things. How do you think your early introduction into the showbiz industry has shaped you?

A: I hated modeling as a kid because it was always a long process. I just go,do my thing and leave but it was nice because I was getting paid. So it helped me loosen up and be more comfortable in front of the camera. I mean,I remember doing an advert for Haier Thermocool and just letting go of my shyness and actually just being myself. So it has really shaped me which is all thanks to my mum.

Q: Is there one thing about your culture you wish you could incorporate more into your music?

A: Yes,the language. I feel like Benin is such a complex language and even when I am speaking the language,I always try to exercise a bit of poetic license with it except for key words or phrases. It is funny because I used music to learn bini with my mom’s help.

Q: You held a listening party for Egerrton. What was the feeling like?

A: First off,the listening party was one of the most stressful days of my life. We had to change location about three times and it was packed. I even had to perform the project from top to bottom 6 times because more people kept coming in. But I was really grateful for that day and it felt really good.

Q: What is the craziest thing you have done as an artist:

A: I feel like working for crazy hours. I mean I have done a session for 10 hours then had 5 back to back shows in the same night. That is probably the craziest thing I have done because I fell sick after that. It also made me realize that body no be firewood.

Q: What is your favorite thing about being an artist?

A: Apart from recording music,I would say performing music. Right from childhood,I have always loved performing and it has translated into adulthood. I genuinely don’t believe there is a better feeling.

Q: What is your pre show ritual?

A: I would always smoke a blunt,then pray,then go on stage.

Q: What is your favorite food?

A: That is actually a hard question because I would normally say fries but I don’t really eat that right now so I would say my favorite food is Yam and egg sauce.

Q: If you could say just two lines to yourself from 5 years ago,what would it be?

A: I would just say don’t be in your head so much and keep working.

 Ghanaian rapper and singer Humphrey Amponsah Dadzie, professionally known as HA-DI, has released a two-track project titled “Tell A Man”, featuring the songs “Wicked One” and “Saman.”

Rooted in the Ghanaian tradition of storytelling and sharing wisdom through conversations, “Tell A Man” Is a reflective body of work that uses music as a tool for dialogue, introspection, and understanding. The project captures HA-DI’s ability to transform real-life observations and cultural experiences into meaningful stories that connect with listeners on a deeper level.

Blending elements of Afro, Dancehall, Reggae, Rap, and Highlife, the two-pack explores themes of human experiences, personal choices, societal judgment, influence, and the legacy people leave behind.

The first track, “Wicked One,” challenges the way society quickly labels people without understanding their full stories.

Inspired by real-life experiences, HA-DI explores how a person’s environment, upbringing, struggles, and circumstances can influence their journey. The song draws a comparison between a seed planted on rocky ground and one planted in fertile soil, highlighting how different conditions can shape different outcomes.

While acknowledging that individuals must take responsibility for their actions, HA-DI encourages listeners to approach people with empathy and understanding before passing judgment.

“The Wicked One” serves as a reminder that behind every person is a story, and sometimes the battles people fight is hidden from the world.

The second track, “Saman,” explores the idea of influence and the lasting impact people leave behind.

Traditionally associated with spirits of the departed, HA-DI reimagines the meaning of “Saman” by reflecting on the invisible footprints created by the living through their words, actions, and decisions.

The song questions the kind of legacy people are building every day and encourages listeners to consider how their presence affects those around them.

Through its storytelling approach, “Saman” reminds us that our impact is not only measured by what remains after we are gone, but also by the lives we touch while we are here.

With “Tell A Man,” HA-DI continues the tradition of Ghanaian storytelling by creating music that goes beyond entertainment — music that sparks conversations, encourages reflection, and leaves listeners with lessons they can carry forward.

“Tell A Man” Is available now on all major streaming platforms.

Following the release of ‘Oluwa’ earlier this year, Nigerian Afrobeats artist Lambamills continues his impressive run with a brand-new single titled ‘Poverty’.

The record sees Lambamills deliver another infectious Afrobeats offering, blending captivating melodies with heartfelt storytelling and vibrant production. Produced by Robin Marni and Tega Starr, ‘Poverty’ showcases the artist’s evolving sound while maintaining the authentic style that has continued to resonate with listeners.

Building on the momentum of ‘Oluwa’, ‘Poverty’ marks another step forward in Lambamills’ musical journey, highlighting his consistency and versatility as one of the exciting emerging voices in Afrobeats. With its polished production and memorable delivery, the single is poised to connect with both longtime fans and new audiences alike.

‘Poverty’ is now available on all major streaming platforms.

UWA is back. Fresh off a major run of shows across the UK, the Toronto-based Afro-fusion artist returns with “Composure”, a silky, summer-ready Afroswing and Afro-R&B record that arrives right on time.

“Composure” is the first release since UWA expanded internationally, and it lands like a statement. Over the past few months, he’s been locked in, performing across the UK, connecting with new audiences, and refining a sound that already had people paying attention. This record is the proof of work.

The song is exactly what the name says. Confident. Flirtatious. Effortless. It captures that specific summer feeling; the kind of track that comes on and immediately sets the mood. There’s an ease to it that sounds intentional, not accidental.

“This record is just meant to feel like summer,” UWA says. “I wanted it to feel smooth in a way that you can tell it’s from me but still catchy, like one of those songs, you hear once during summer, and it just sticks with you.”

UWA sits right at the intersection of the UK Afroswing sound and modern Afro-R&B, a lane he’s carved out for himself. The diaspora is watching, the numbers are moving, and “Composure” is a reminder that the best is still ahead.

“Composure” is out now on all streaming platforms. 

Meet Valentyno: An Artist Redefining Individuality Through Music

In a musical landscape often driven by trends, Valentyno stands out by embracing authenticity. The emerging artist is steadily building a name for himself through music that reflects his personal experiences, creative instincts, and unwavering commitment to self-expression.

With a sound that balances emotion, vulnerability, and contemporary alternative influences, Valentyno creates records that feel both personal and relatable. His artistry is rooted in honesty, allowing listeners to connect with the stories, moods, and emotions woven throughout his music. 

Fresh off the release of his two-track project, RIDE OR DIE & SML, Valentyno continues to showcase his versatility and creative vision. The release offers a glimpse into an artist who is unafraid to experiment, explore new sonic territories, and challenge conventional expectations while remaining true to himself.

More than just making music, Valentyno is focused on building a lasting connection with his audience. Through thoughtful storytelling, distinctive aesthetics, and a growing catalogue of work, he is cultivating a community that values originality and genuine artistic expression.

As he continues to evolve and expand his reach, one thing is becoming increasingly clear:

Valentyno isn't following a blueprint, he's creating his own lane, one record at a time, and inviting listeners into a world that is uniquely his.

 In an era where Afrobeats is expanding across continents and charts, few emerging artists are building worlds as deeply personal and culturally intentional as ORCH.

Born Peter Uchechukwu Imo, the Nigerian artist is more than a musician; he is a storyteller, cultural observer, and emotional archivist. Standing at 6'3" with a commanding presence and unmistakable baritone vocals, ORCH has begun carving out a lane that blends introspection, spirituality, African folklore, and contemporary Afrobeats into something entirely his own.

At the core of ORCH's artistry is duality. The loss of his father at the age of eight remains one of the defining moments of his life and creative identity. That experience continues to echo through his music, creating a delicate balance between grief and gratitude, absence and belief. His songs often feel like conversations between memory and hope, exploring the emotional landscapes that many listeners struggle to put into words.

Drawing inspiration from legendary figures such as Fela Kuti and Bob Marley, artists who transformed music into cultural movements, ORCH approaches his craft with a purpose that extends beyond entertainment. Literary influences, particularly the works of Chinua Achebe, further shape his perspective, giving his music a thoughtful depth that encourages reflection while remaining accessible.

His latest single, Oyibo Instructions, perfectly captures this artistic mission. Rather than offering a conventional Afrobeats record, ORCH delivers a bold commentary on psychological and cultural oppression. Inspired by the historic 1803 Igbo Landing, where enslaved Igbo people chose death over bondage, the song challenges listeners to question blind loyalty to oppressive systems and inherited ways of thinking. Built around traditional African folk influences and the haunting sound of the Oja flute, Oyibo Instructions demonstrates ORCH's commitment to preserving cultural memory while engaging contemporary realities.

Yet ORCH is not solely concerned with resistance. Previous releases such as Wonder and No Matter The Mood showcase a more introspective side, exploring resilience, self-belief, and emotional healing. Together, these records reveal an artist comfortable navigating vulnerability without sacrificing strength.

This thematic depth extends into his forthcoming project, I Wish You Came Earlier (IWYCE). Described as an "Early Prophetic" body of work, the EP chronicles personal struggles, family bonds, loss, ambition, and eventual triumph. Each song contributes to a larger narrative, inviting listeners into a journey that feels both deeply personal and universally relatable.

Although still in the early stages of his career, ORCH's growing momentum is impossible to ignore. From generating viral moments during performances at Republic Bar to appearing at Spotify-powered Vibrate Workspace, he is steadily building a community that connects with both his message and his presence.

What makes ORCH particularly compelling is his refusal to separate culture from creativity. Whether drawing on ancestral stories, African spirituality, personal experiences, or social commentary, he creates music that feels purposeful. His work asks questions, challenges assumptions, and ultimately encourages listeners to engage more deeply with themselves and the world around them.

As he prepares for the release of I Wish You Came Earlier, one thing is becoming increasingly clear: ORCH is not simply introducing songs into the world. He is building a legacy rooted in meaning, memory, and African creativity.

And for those only discovering him now, his upcoming project's title may soon feel less like a name and more like a realization: I Wish You Came Earlier.

Music And Moments With Obedo PF & Vicoka

Issue 14.0 May. 2026

Interview conducted by Chiagozie Mbuba Tochukwu 

Design by Chiagozie Mbuba Tochukwu 

Q. Let's start from the beginning. Port Harcourt. Anambra. Two different cities in the East, what was the common thread growing up?

A. Vicoka: The common thread is the hunger. Not hunger like you're greedy, hunger like you grew up watching your mother work herself to the bone and you told yourself her sacrifice cannot be wasted. That is an Eastern thing. Whether you are Igbo, whether you are Rivers, whether you grew up in the city or the village,there is this pressure that comes from home. From family. From knowing where you came from and what it cost for you to be here. Port Harcourt shaped everything about how I see the world. The streets there are real. The love there is real. And the pain there is real. I carry all three.

A. Obedo PF: For me, it was struggle and hope at the same time. Growing up in the East, you already understand early that nothing is handed to you. You either hustle or you stay stuck. That mindset shaped everything.

Q. What did music look and sound like in your household before it became yours?

A. Vicoka: Music in my house was church. That was it. My mum is a woman of faith, so the sounds I grew up around were worship songs, hymns, and gospel. That was the first music I ever truly felt not just heard, but felt in my chest. When I joined the choir at 13, it was not because someone asked me to. It was because that was the only place I felt like myself. Like I was allowed to be loud and emotional and honest all at the same time without anyone telling me to calm down. So before music became my career, it was my church. Literally.

A. Obedo PF: Music was always there church, street, parties. Different sounds, but all emotional. At first, I was just listening, vibing... but deep down, I knew it was more than entertainment for me.

Q. When did you first realize this wasn't just a hobby, that music was actually going to be the road?

A. Vicoka: There was a moment I cannot give you an exact date where I was in the studio and I played back something I had just recorded and I started crying. Not because it was sad. Because it was true. I had said something in that song that I had never been able to say out loud to anyone. And I thought: if this can make me feel like this, what is it going to do to someone who has lived the same thing? That was the moment. I stopped thinking about music as something I did and started thinking about it as something I was supposed to do. There is a difference. One is a choice. The other is a calling.

A. Obedo PF: When I saw that my words were connecting with people. Not just vibes real connection. I when I realized it was the only career path that gave me peace That’s when I knew this thing is bigger than me.

Q. Vicoka, your song "Port Harcourt" hit different because it wasn't just about a city; it was about your mother, your survival. Obedo, your EP is literally called Hope for Ghetto Youths. How much of your music is autobiography?

A. All of it. I do not know how to write any other way. "Port Harcourt" is literally my mother's story. Her walking from Borokiri to Trans-Amadi every day after my father passed not because she wanted to, but because we needed to eat and she was the only one left to make sure we did. I watched that as a child and it broke me and built me at the same time. When I wrote that song I was not trying to make a hit. I was trying to say thank you in the only language I had. The fact that it connected with so many people the fact that people in places I have never been heard that song and cried told me that pain and love are universal. You do not have to be from Port Harcourt to understand a mother's sacrifice.

Q. Talk to us about the moment you decided Lagos was where you needed to be. Was it a plan or were you chasing something you couldn't name yet?

A. Vicoka: Honestly? I was chasing something I could not fully name yet. Lagos was not a plan written on paper. It was more like a pull. You reach a point in your career where you have done what you can do within your current walls and you feel the ceiling. And Lagos does not have a ceiling or if it does, it is high enough that you cannot see it from the ground. I needed to be around people who were moving, who were building, who were hungry the same way I was hungry. Port Harcourt made me. Lagos is where I am going to show the world what Port Harcourt made.

A. Obedo PF: I was chasing something I couldn’t even explain. I just knew Lagos is where things happen. It wasn’t comfortable, but I had to come.

Q. Lagos humbles everyone at first. What did the city take from you before it started giving anything back?

A. Vicoka: Lagos took my comfort. I will be honest about that. When you are at home, even if things are hard, you have a context. People know you. Your street knows you. Your mum is somewhere nearby. Lagos does not care about any of that. Lagos meets you as a stranger and keeps treating you like one until you prove otherwise. It took my sense of certainty that feeling of knowing how things work. In Port Harcourt I understood the codes. In Lagos I had to learn everything again from scratch. But I think that is also what makes you grow. Discomfort is not punishment. Sometimes it is preparation.

A. Obedo PF: It took comfort. It took peace of mind sometimes. Lagos will test you mentally, financially, everything. But that same pressure built me.

Q. There's a particular kind of hunger that comes with being Eastern in Lagos, you're not from here, you have to prove yourself every time. Do you feel that pressure in your music, or do you use music to escape it?

A. Vicoka: Both. I feel the pressure and I pour it into the music, which is also how I escape it. When I am in the studio and I am recording, I am not thinking about who doubts me or who does not know my name yet. I am thinking about the truth I am trying to say. But that truth is shaped by the pressure. "Peace" exists because I needed peace. I was not writing from a place of having arrived I was writing from a place of still fighting. Still searching. That is what makes the music honest. I am not performing emotions. I am processing them in real time and letting people watch.

A. Obedo PF: Zero pressure though but if there’s one, i use it as fuel. I don’t run from it. That pressure is what gives my sound that edge.

Q. The irony is that some of your most Lagos-sounding music is still deeply rooted in where you're from. How do you hold both things at once without losing one of them?

A. Vicoka: I think the mistake people make is treating those two things as opposites. Lagos and Port Harcourt are not in competition inside me. Lagos is the stage. Port Harcourt is the script. The hustle, the production quality, the ambition that is Lagos energy. But the stories, the emotions, the specific way I describe my mother's walk or the specific grief of losing a father young that is Port Harcourt. That is Rivers State. That is the East. You cannot fake that specificity. And I think that specificity is exactly what makes the music cut through, because in a Lagos market full of music that sounds like everything, something that sounds like a real place and a real person stands out.

A. Obedo PF: Because I never forget where I came from. Lagos is part of my inspiration , but it didn’t change my identity. I carry the East everywhere I go.

Q. Obedo, you've got songs like "Road" and "Focus" that speak to the grind. Vicoka, "Peace" and "Spirit" feel like you're searching for something beyond survival. Are you two actually telling the same story in different keys?

A. Vicoka: I think so. The destination might be different but the road is the same. Spirit was me in darkness, trying to find God. "Peace" is me still in the fight, but fighting with more awareness now knowing what I am fighting for. Survival is where you start. But at some point survival is not enough anymore. You want to live. You want to feel still. You want to wake up in the morning and not immediately feel the weight of everything pressing down on you. That is what "Peace" is about. It is not a victory song. It is a battle cry for something quieter. I think any artist who has been through real things eventually gets to that point where you stop just asking God to help you survive and start asking Him to help you be okay.

A. Obedo PF: Yeah, it’s all one story growth. From survival to purpose. I’m documenting every phase.

Q. You've both worked with Wizard Chan. What does collaboration mean to you? is it community, or is it strategy?

A. Vicoka: Community first. Always. Wizard Chan is not just a feature on a song he is someone I genuinely respect as an artist and a person. When I called him for "Spirit" it was not because I calculated that his audience would add to my streams. It was because his energy matched what that song needed. He understood the weight of it. And I think people hear that they hear when a collaboration is genuine versus when it is transactional. The best collaborations feel like conversations. Like two people finishing each other's sentences. That is what "Spirit" felt like with him. You can hear it in the record.

A. Obedo PF: It’s both. Community first though. You need people that understand your energy. Strategy comes after.

Q. What does success look like from where you're standing right now; not five years from now, right now?

A. Vicoka: Right now? Success is waking up and knowing I made something honest yesterday. It is my mother hearing my music on the radio and feeling proud. It is a kid in Port Harcourt who has never left his street hearing "Port Harcourt" and thinkingsomeone said exactly what I feel. That is success right now. The streams are growing, the listeners are coming, and I am grateful for all of it. But the thing that tells me I am doing it right is not the numbers. It is the messages. It is the person who says this song helped me get through losing my dad. When that happensthat is the whole point. That is everything.

A. Obedo PF: Growth. Real fans. People connecting to my music. That’s success to me right now.

Q. What do you want someone from Enugu, Owerri, Onitsha; another Eastern kid who hasn't left yet, to take from your music?

A. Vicoka: I want them to know that their story is worth telling. Exactly as it is. Not cleaned up. Not Lagos-ified. Not made smaller so that people outside will be more comfortable with it. The specificity of where you are from the way your street smells, the way your mother calls your name, the way poverty looks in your specific neighbourhood that is not a weakness in your art. That is the power. "Port Harcourt" did not go viral because I made it universal. It went viral because I made it specific. And in that specific truth, millions of people found themselves. You are not too local. You are not too Eastern. You are enough. Start from where you are. Tell the truth about it. The world will find you.

A. Obedo PF: Hope. That it’s possible. That where you’re from doesn’t limit you.

Q. Last one. If Lagos is the destination, what's the Eastern in you that you refuse to leave behind?

A. Vicoka: My mother's walk.

I will never leave that behind. That image her on foot, early in the morning, Borokiri to Trans-Amadi, no complaint, no self-pity, just movement that is the Eastern in me. That is the value system. You do not wait for conditions to be perfect. You do not wait for someone to open a door for you. You walk. You show up. You do the thing because the people who love you deserve the result of you doing the thing. Lagos can have my ambition. Lagos can have my work ethic. But that specific understanding of sacrifice of what it means to keep going not for yourself but for the people who walked so you could run that is Port Harcourt. That is the East. And I am carrying it everywhere I go.

A. Obedo PF: The Igbo blood in me My hunger. My resilience. And the way I see lifer aw, real, and unfiltered. That can never leave me.