FRATPACKER WORLD.

Funking Up The Game

In 2026 we’ve seen artist come up with new genres and sub-genres. We see it in house with Amapiano and the sub-genres that have come from that such as 3-Step. In Hip-Hop and RnB, we’ve seen the kids dive more into South African samples, a mix of traditional records merged with Neo-Soul and what some would call new age Maskandi. With this we’ve also seen the reemergence of ome genres such as Gqom. One genre that feels like it’s a forgotten art is the Funk & Pop genre. These genres also tie into flirtation and seduction, another lost art and maybe we lost it when we lost the music. Don’t worry though, there are two young men trying to revive it and bring it back.

Imani Basquiat & RGRSNW [pronounced Roger Snow] are two artists and friends who’ve used their love of music and women to come together as a funk-rapping singing duo. The last time we seen two brothers come together and get this funky was Andersan Paak & Bruno Mars. The two artists both come from the way of Pretoria, which in the recent years has been birthing some of South Africa’s best Hip-Hop & RnB artists, who carry a certain jig and vibe with them, so it’s no surprise that we would get a Funk-Pop RnB duo from Pretoria.

Now before they were a duo, Imani Basquiat & RGRSNW were individual artists. Imani Basquiat came to my attention in 2022 when he released his Internet Girl EP. The production, RnB-Funk fusion and writing caught my ear instantly. I was like, “This the player pimp sh*t I be about.” and need to hear more. That’s when I discovered that he had an EP released earlier that year called Hooptie Music. If you know the terminology and definition of a “Hooptie” then instantly as a player pimp you would be drawn to the EP and if not; a Hooptie is an old, worn out, busted up, car. Only reason this is player pimp music is because in the 80s and 90s you were considered really player if you could pick-up beautiful women in a hooptie, just to show it’s not the car but the man that gets the ladies. From there I’ve followed Imani Basquiat and in 2023 he released his Groove Theory single which is an embodiment and ode to funk music. The single did so well he release a Groove Pack, where different produces like Yolophonik, Doushii & KaeB remixed the song in different versions.

When it comes to RGRSNW, I came across his music in a live format. I forget which show I was at, but I remember seeing this tall dark figure with blonde hair moving through the crowd acting all mysterious and silent. Net thing I know he’s on stage with Imani Basquiat and hitting some new age trap-funk type vocals. This shocked me because I expected to hear some rappity raps from this mysterious figure. His vibe oozes of “I’m going to bar you to death n*gga” but he comes in with the exact opposite. After that performance I went to his Love, Snow EP, that he released in 2023, and liked the jig of his funk. His record Soul Train was a stand-out for me. Keeping an eye on him since then he’s dropped multiple EPs; Reset [2024], SNL 2 [2024] & Colours [2025]. He found his groove, got in the funk and never stopped.

These two individual artists decided to start 2026 with an agenda in mind…women. It seems like the two artists and friends came together and saw that the sounds they play in and use as their artform was always built on the needs and please of women. Whether it was singing to praise, flirt, seduce, compliment, uplift or just admire women. The muse has always been women and the love of them while keeping it sexy. They started the year off with their single Rewind It and did it by having a gang of gorgeous girls winding and hip-notising (see what I did there) us while we listen to a mixture of funk and afro-beat sonics. Their second single Women ft Phiwo, released on the 27^th of March, is about exactly that…women. This time they had an elevator full of stunning women dancing to their smooth sounds. It shows that they know the history of the music and are intentional about not just making the music but living it and bringing sexy back as Justin Timberlake once did. I could continue and guess how this duo came about and why but wouldn’t you rather hear what the funk they have to say from them?

INTERVIEW WITH IMANI BASQUIAT & RGR SNW

Who are you?

Imani Basquiat: “Imani Basquiat is a Progressive Soul artist, all around creative and ladies man extraordinaire, who thrives in pushing the boundary in creating music that feels like a breath of fresh air and encompassing it in a world that one can get fully immersed in.”

RGRSNW: “Roger Snow (stylized RGRSNW) is a Afro-Pop / Alternative R&B artist from Pretoria. I love music. I love it so much. Um yeah, I think I just I’m just trying to push boundaries, get people dancing. I love rhythm. I love house. I love I love music that makes people make their feet move. I also love music that, you know, um has an emotive element to it. I love pushing boundaries. I’m experimental on everything. Yeah, that’s what I am.”

 What brought you two together?

RGRSNW: “What brought me and Imani together? Um, were working with the SAMA NOMINATED Producer Baitu Manong. We were both working with him. Baitu produced 3 projects for me. So, um we appreciate him and yeah man as we started working we started we’re making songs together we have some collabs out like wait but then we started making more music and then the chemistry just started growing and we realized okay let’s keep doing this let’s keep working on this you know I mean so we got a few songs we’re working on and something special coming out soon stay tuned.”

Imani Basquiat: “We met at SAMA nominated producer Baitu Manong’s studio, and through months of just working on our own individual efforts and observing each other create, and becoming friends – ultimately, we gained an understanding each other’s soundscapes and through that started collaborating.”

In an age where nostalgia is the trend, what made you want to look specifically at a funk/pop/R&B inspired sound?

Imani Basquiat: “Growing up I always had the likes of Jazz, Funk, Pop, R&B and a lot of soul music playing around the house. My pop’s has an extensive Vinyl, CD and DVD collection in his study and so every weekend from Friday to Sunday I’d be hearing the likes of Donna Summer, Fourplay to watching Michael Jackson and D’angelo concert DVD’s, and so for me it’s almost poetic that I gravitate towards creating the music I grew up on, the music I knew before I really knew the world like that.”

RGRSNW: “Old school R&B Usher Chris Brown and you know what I mean the works that my dad was always playing that. Gospel music and all the type of things that us as black people we make or people of African descent, whatever you want to call it, all those type of songs, you know, from even how I was brought up with my upbringing (DRC heritage) like um Warrison and Koffi. So, just bringing everything together, you know what I mean? Um that’s what really inspired and you know, I think Imani and I are really transitioning into a pop star phase that I think y’all are going to love.”

What separates/defines you as individual artists?

RGRSNW: “Um, what separates us? Well, firstly (laughs) but for real, what separates us is um I would say Imani is a little more centric. You know what I mean? He’s going to be the n**** that’s dancing and doing all that and that’s fine. You know, that’s him and it’s a beautiful what he does, you know, he must keep doing him. But I’m more of a you know. I’m the big cuz I’m a tall guy, you know. I mean, I’m like I’m like the big guy who’s looking swag and you think, ‘Oh, this n**** thinks he’s too cool for y’all.’ But then I get up there and I wow you with how vulnerable I am and how I sing and how I move and how I interact with you. You know what I mean? I’m more of a juxtaposition whereas Imani looks like what he does. Does that make sense? … Um I think yeah like I said right now you know that’s what defines us you know but um yeah I’m a juxtaposition how my music is so emotive sometimes so slow sometimes so upbeat and also um large spectrum but I’m dressed like a hip-hop artist. I’d say I have the swag as a hip-hop artist. A lot of people tell me that, but I never made a hip-hop song in my life. So, yeah. And then Imani, you know, look like Vanda Michael Jackson. Michael Jackson dance like Michael Jackson feel. Still has that swag though but it’s a different type which is fire to me.”

Imani Basquiat: “I think it’s definitely our individual backgrounds and personal experiences. We both grew up differently, and even though there’s a lot that we relate to each other on, we have our nuances in how we grew up and the experiences we were exposed to. It’s this aspect of individuality that give’s us our unique storytelling perspectives.”

What is the importance of portraying a look that matches the feel of your music?

Imani Basquiat: “This is actually my favorite part of releasing new music! I grew up as a visual artist so this is me still tapping into that side of me. It adds to the world building aspect of the music itself. It gives the record an environment to thrive in and the listener a world to delve into, to experience what we make in the most immersive way possible.”

RGRSNW: “Very important. it’s a large part of world building, you know what I mean? It’s a large part of um showing people you know who we are and what we do. I feel like clothes is another way to express yourself without saying anything. 60% of language is body language so you know expressing ourselves through clothes and how we. I use my clothes as a armor my music is like very vulnerable. I dress like a thug you know what I mean so you think like ‘yo don’t play with this boy’ but don’t worry I’m a sweetheart. I think it’s very important.”

Are you lover boys or just lovers of women?

RGRSNW: “I think I’m a little bit of both. There ain’t nothing wrong with that in my opinion. When I love my shorty, I love my shorty to the fullest. When I’m outside, I’m outside for real and I love being outside sometimes. So, um I love it. I love it. You know, Also, I think I’m also a lover of woman in a wholesome sense too. Sometimes just like kicking it with my homegirls. You know, some of the realest n***** I know are my home girls. So, shout out my home girls.”

Imani Basquiat: “Hahaha, let’s just say I’m a lover boy who is in a world that forces him to be a lover of women. But on a serious note, I don’t think the one can exist without the other. Take away the adornment of women and the lover boy disappears.”

Are women or love the muse for you?

Imani Basquiat: “Love is the frequency for me. It just so happens to be that women are one of the many facets of life that I love, and so I find myself drawing inspiration from that place at times.”

RGRSNW: “Yes. Um, when I started making music, I’m R&B. So, most of my songs are like diaries about my relationship or how I feel about, you know, my significant other. So, hell yeah. But it’s also just life in general. I think you know um as artists kind of just write from one perspective not every song is about love you know and not every love is romantic so um I think I just love I just write like writing about love and good things in general but women are also one of positive aspects of life I love writing about.”

What’s the difference in making a project alone vs. coming together as a duo?

RGRSNW: “uh making a project alone very self-centered very me me it’s very what I want to do, how I was trying to shape this, it also there’s also you get that feeling like it also falls on you, you know what I mean? When the song is doing great, it’s on everybody’s talking about you, but when it doesn’t do well, you know what I mean? The world is going to be like, ‘Man, that’s on you, n****.’ And keep it pushing like, you know what I mean? So, uh, making music on your own, it’s a great experience, but it’s also like very hard but nobody does this alone… Recognition but when we do it together, we get recognition together. We suffer together. Uh, You know what I mean? And then we also compromise, not compromise on ideas, but building on ideas together we’re thinking about ideas that accommodate both of us. Then sometimes when you got a feature accommodate three of us or four of us plus a producer etc you know? So just learning that and just learning how to be in a collaborative space… is really beautiful to be a part of. Um so yeah, that’s the difference between coming together as a duo and doing it on your own. I think I just like love the collaborative aspect of it.”

Imani Basquiat: “Man…I think the key difference is perspective hey. There’s a saying that goes ‘That which makes us different, makes us great’ and I think that’s so powerful. We have to constantly make room for each other and the work itself – There’s a lot you learn about letting go of control yet still maintaining it, leaving room for consideration and then coming to the result that it isn’t about me or the person I’m collaborating with…It’s about the record. You sort of develop this Hive-mindedness, it’s odd but cool at the same time.”

I can see inspirations of OutKast, but who are you trying to define yourselves as?

Imani Basquiat: “The guys that made a really fun project to listen to and experience, the guys that moved the needle artistically and the guys who had the cajones to do something that daring in soundscape, visuals and experience in a climate where most play it safe because of what’s popular in South Ahh…nothing more nothing less.”

RGRSNW: “Um, you know, shout out to the ATLiens. We very inspired by Big Boy and Dre, you know, shout out Dre. Shout out Andre. Shout out to Aliens. But also at the same time, I think um we got our own feel, our own sound, our own way how we do it. I think what defines us also is that we’re both um vocalists, you know what I mean? It’s not a rapper and singer duo. So, um I think that that’s a real good twist to it where it’s more of a I wouldn’t say like a boy band, but you know what I mean, man. Like it’s a lot more for the shortys. It’s a lot more sultry, Big Boy was the juxtaposition to Dre. And I think what defines us is that I’m not exactly the opposite of Imani. I’m more of a variant of something, but we do come from the same universe. Did that make sense? Word. But yeah, that’s how we define ourselves.”

Two singles out and both women centered. How’s the fan reaction been? And do n*** hate you?

RGRSNW: “Um, fan reactions have been fire. seeing how fan bases changes. Um, our fan bases have become a lot more woman centered around this time. I feel like we have a really cult following in terms of our home girls. Shout out the home girls. So, just seeing the love and feeling the love and knowing that everything just feels so genuine cause really we really do be living this life, you know what I mean? … a lot of n***** write music about women from a sense of admiration and not reality, but we know the reality of being around them and how great they are. Do n***** hate us? N***** always going to hate, but we are going to keep going now (laughs). But for real, all n***** really ask us is, ‘Yo, who are those girls in that rollout, man? Those girls looking fly.’ That’s all n***** want to know. But n***** rocking with it. You know what I mean? Shout out to the homies, too. But yeah, man. This for the girls.”

Imani Basquiat: “It’s being received very well and the one’s who are really drawn to the visuals are the women. As for n*ggas – haha, those that get it, get it and the rest get left behind for real.”

What can we expect from this duo for the rest of the year?

Imani Basquiat: “A full body of work, visuals shows and the rest of the world of this project to be built.”

RGRSNW: “Whole lot of music. The next single coming out soon. We’ve been working on something a little special. We got a name for it. We got everything for it. But we’re trying to make a little bit of a surprise for y’all. So once we’re ready to give y’all more information on that, we’ll give you that. But way more music, I’ll tell you that. Trust, way more music second half of the year. We outside. So, let’s get it popping. And you know, much love Sango Velaphi and Frat Packer for having us word to bro.”

There’s something beautiful about watching an artist survive every version of themselves in public. For over a decade, Kehlani has done exactly that. From teenage prodigy to Tumblr-era R&B staple, from heartbreak prophet to spiritual healer, her career has unfolded in real time. Every phase documented. Every scar audible. Every lesson stitched into melody.

That’s what makes her new album feel so important. Not because it’s louder than her previous work, but because it’s calmer. More intentional. More rooted. It sounds like the glow up after dealing with demons and finding peace. The mood is light, confident, self aware and at peace.

For years, Kehlani occupied a very specific lane in modern R&B. She made music for people trapped in emotional loops. Music for drunk texts at 2AM. Music for loving people that were terrible for you. Her earlier projects carried that beautifully chaotic energy that defined a generation of internet-age R&B. Toxicity was not just a theme in the music, it was part of the aesthetic. The late-night confessions, the emotional manipulation, the cyclical heartbreak, the push and pull of wanting softness while simultaneously sabotaging it. Kehlani mastered that language because she lived it.

And that honesty is what made people connect so deeply with her catalog. She never sounded above the mess. She sounded inside of it.

But somewhere along the line, the music started changing because the woman behind it started changing too. Over the last few years, Kehlani has spoken openly about therapy, accountability, motherhood, spirituality, emotional discipline and the difficult process of unlearning destructive habits. You can hear that work all over this album. Not in a preachy way. Not in a “look how evolved I am” kind of way. More in the subtle maturity of someone who finally understands that peace is harder to write about than pain.

The growth is most evident in the emotional architecture of the album. The songs no longer romanticize chaos. Vulnerability is no longer framed as weakness. Desire no longer feels reckless. Even when the music touches heartbreak or longing, there’s a level of emotional clarity that wasn’t always present in earlier Kehlani records. She sounds grounded. Present. There’s less running. Less spiraling. More reflection.

That makes the success of “Folded” feel even more significant. The record became an anthem not because it was explosive, but because it was emotionally precise. “Folded” captures the kind of mature heartbreak that arrives after self-awareness. The writing has a sense of taking one’s power back. It doesn’t beg. It doesn’t perform. It simply sits with the disappointment of love that could not survive growth. That emotional sophistication is exactly why the song resonated the way it did.

What makes this album hit even harder is the fact that it took this long for Kehlani to finally arrive at the self-titled era. Artists usually self-title projects when they believe they’ve reached their clearest artistic form. It’s almost like planting a flag and saying: this is who I am. No characters. No smoke screens. No protective layers. Just me.

For Kehlani, the self-titled album feels earned. It feels like the culmination of years spent navigating fame, motherhood, heartbreak, identity, queerness, spirituality and public scrutiny. Instead of chasing trends or reinventing herself for the algorithm, she chose to make an album that feels deeply connected to the roots of R&B itself.

The project plays like a love letter to the genre. You can hear traces of 90s and early 2000s soul throughout the production. Warm basslines. Silky harmonies. Great instrumentation. Slow-burning grooves that prioritize feeling over virality. Yet the album never sounds dated. That’s the genius of it. The production understands the history of R&B without becoming trapped inside nostalgia. It feels current while still honoring the lineage.

That balance becomes even more powerful through the collaborators she brought into the fold. When artists like Usher, Brandy, Missy Elliott and Lil Wayne appear on a project, it means something bigger than star power. These are pillars of RnB, soul and hip hop. Their inclusion almost feels ceremonial, like Kehlani positioning herself within a larger tradition rather than outside of it.

And importantly, the collaborations never overshadow her. They reinforce her vision. Brandy’s presence feels especially symbolic considering how much of Brandy’s vocal DNA exists across modern alternative R&B. Usher brings that effortless grown-man smoothness that defined an era of radio domination. Missy injects rhythmic unpredictability and edge. Wayne, as always, bends melody and rap into something instinctive and emotional. Together they help Kehlani create an album that feels multigenerational. Even the way the Clipse fit into Kehlani’s world is seamless. A song that could fit in the late 90s to today (shout out to her for letting Pusha T double down on some of his relationship takes lol)

But beyond all the features and production conversations, the real triumph of this album is emotional. Kehlani sounds lighter. Not happier necessarily, but freer. The music feels less concerned with proving desirability and more interested in protecting emotional intimacy. That’s a huge difference.

A lot of artists spend their careers trying to become icons. Kehlani spent hers trying to become whole. That journey is written all over this album. And maybe that’s why it lands so deeply. Because beneath all the lush harmonies, elite features and beautiful production choices is a woman documenting what it sounds like to finally choose peace over performance.

There’s something powerful about a debut that reveals who you are to the public. Lowfeye taps into that power on Nosange. After carving out a lane through EPs and the Qwellers movement, this album feels like a long exhale. It’s honest, unfiltered, and deeply personal.

What hits immediately is the vulnerability. He strikes a wonderful balance of bars for the sake of flexing skill and opening doors into who he is, where he comes from, and what’s been weighing on him. There’s a musicality that carries that honesty; a kind of softness layered over sharp lyricism that makes the album feel lived-in rather than performed. You get to meet him and get well acquainted with who he is.

The collaborations are intentional and textured. The Lia Butler feature lands in a way that feels both unexpected and necessary adding a richness that stretches the sonic palette of the album. And in the midst of all the Qwellers noise and rumours, there’s something grounding about seeing names like Blue Pappi and Lacabra show up. It reads less like industry politics and more like brotherhood still finding its way into the music, which makes those moments hit harder.

Then there’s the cultural weight. His gratitude toward Sjava is mentioned and felt. “Ethegwini” stands out as one of those records that transcends just being a song. Bringing in Shwi elevates it even further, tapping into something deeply rooted in South African musical heritage. It’s the kind of collaboration that sounds good and has meaning. 

Lowfeye also delves into universal themes and puts on an advisory hat. “Check Em” cuts through with that familiar sting of betrayal, calling out fake friends with a clarity that feels both personal and universal. It’s the type of track that reminds you that growth often comes with isolation, and he leans into that discomfort instead of running from it.

But the emotional core of the album sits with the title track, “Nosange.” Dedicated to his mother, it’s tender without being overdone, vulnerable without losing structure. There’s a quiet strength in how he approaches it letting the music carry the emotion instead of forcing it. It’s one of those songs that lingers long after it ends.

By the time the album closes, what’s clear is that Lowfeye isn’t asking for permission to exist in hip hop he’s claiming his space in it. Fully, unapologetically. Nosange doesn’t chase trends or try to fit into a moment. It builds its own, rooted in honesty, culture, and a refusal to be anything other than real. That’s where the magic is.

CR8TING CONVERSATIONS, CONNECTIONS & CURIOUSITY

Creativity is not birthed in isolation nor fear. It is birthed from community and curiosity. Being in a world where we are influenced and affected by the environment, cultures and people around us, it is impossible to say that your creativity was sparked alone and by yourself. The questions that were burning inside you. The ones that had you asking around and searching high and low for the answers. The ones that had you stretching and exercising your imagination to the fullest. Those questions were your curiosity leading you to create new answers and logic for yourself. The biggest problem we find in creating is trying to connect ourselves as a community with so much going on. There are so many new creations being made. Conversations being had. Communities that are being built. Curiosities being explored everyday and yet it feels like they all go unseen or unheard, unless you in the Illuminati fold. Well thanks to the great people at The Kollektive, they are helping to break that mould with CR8TOR CON and recently hosted a week of panels called CRTOR WEEK AFRICA.

The Kollektive is an advertising agency that focuses on experiential marketing that has been running since 2017 and founded by Jay Kayembe. They’ve always had a focus on the creative space encompassing all aspects [art, music, fashion, design, media] of it as part of their messaging and their way of pushing forward the creative. They focus on opening doors and introducing new names into rooms that creatives struggle to get into or don’t even know they exist. With this mission and passion in mind The Kollektive birthed a new experience called CR8TORCON for creatives to engage and create in-person conversations amongst each other and with professional and experienced creatives. Their debut happened in 2024 and have been going strong since then having panels in both Johannesburg and Cape Town.

This year The Kollektive decided that a one-day panel wasn’t enough and decided to see how far they can push the experience and conversations. CR8TOR WEEK AFRICA was born. For a whole week starting from the 24^th of March – 29^th of March 2026 The Kollektive had a week of experiences and panels built towards helping local creatives gain more knowledge and insight into the creative industry as well as providing activities promoting health, fitness and fun. CR8TOR WEEK AFRICA [CWA] consisted of 4 nights of panel discussions, a run club, Pilates and an after-party to wrap up the week. The panels each had their own theme and discussion points being split into Corporate Culture, Design, Art & Music.

To start off the festivities, there was a 5KM run club that took place on the 21^st of March in partnership with Rexona & Vault Strength Club. I would love to tell you how it was, but when I say, “I run the streets”, I’m speaking more figuratively the literally. What I can speak to is the official launch of CWA, which took place on the 24^th of March 2026 at the Mesh Club, at Keyes Art Mile Gallery. The launch was beautiful and elegant. Arriving to free champagne, wine and tapas was definitely a wonderful way to start the week of panels but even better than that was the actual panel and topic being spoken on. The topic was corporate culture, which does sound more suit and tie then art and expression but the plot twist is that it was more about how the cultures built by creatives and their communities can be adapted into the corporate space and how to extract the resources from corporates to support, invest in and help build these cultures. The panel led by, broadcasting legend, Loot Love featured keynote talks from international speakers in Andrew Nocker & Leila Fataar. Both talks were interesting and informative with Andrew speaking on how AI can be evolved to make art more accessible for creatives while at the same time keeping quality control and Leila having experience working with Adidas & Diageo, taught us how you can bring the corner store talks into the corner office space.

The keynote talks were followed by a panel featuring Kenzero, Sunshine Shibambo, Jean Dimitri and as well as the two keynote speakers. It was lovely hearing and learning from each panellist because it exposed you to worlds and people that you never knew of, which expands into seeing things that are possible that you never had even thought or imagined could be possible. Hearing different experiences of working with brands and corporations and insider stories, such as Sunshine’s Channel O logo story (don’t worry we’re working on making the interview happen so you can read it for yourself) and many more felt inviting and created a safe space to have honest and open conversations amongst our peers. It was also a fantastic opportunity not to just network but catch up and have discussions with our creative peers.

The second night of panels took place on the 26^th of March 2026. It consisted of two panels that took place at the same time, which caused some trouble for people having to decide on going to one. It would have been nice if they could have separated them either by days or time slots but organising such a detailed production and catered event isn’t easy and is NOT cheap at all by any means, so I understand how logistically this was the best solution for the night. The two panels taking place were the design and art panel. The design panel consisted of; international designer Sean Brown, Misha Van Der Hoven, Jared Fynn, Mickyle Berling, Francois Ferriera, and hosted by Tony Gum and Scoop Makhathini. I wish I could tell you how it was, but I opted to go to the art panel that consisted of; Nene Mahlangu, Damn Vandal, Cherné Africa, Sanele Qwabe, Simhle Plaatjies and it was hosted by Kabelo Moremi and Tinuke Eboka.

I opted for the art panel because of two reasons: Damn Vandal & Sanele Qwabe. Having a passion and love for graffiti since a kid, I needed to see and hear a legend, in Vandal, speaking on his work and experience. Then having a love of comics and anime which leads into toys and action figures I had to go and see Sanele Qwabe, the creator of Kind Kid, live in action because I am a groupie, so much so that I couldn’t even go say. “Hi.”, because I was going to fan and geek out so hard. Now, while I might have been there to see those two specifically, I got more than I bargained for and imagined. Starting off with Nene Mahlangu who is a self-taught artist and excellent at it so much so that she was commissioned by The South African Reserve Bank to design money. Yes, that’s right her art is on money and not just that her story and motivation to have a black woman be featured on money for the first time in South Africa was inspiring and eye-opening because from going to creating in your bedroom to creating mint-press is crazy. Her passion, personality and fearlessness in express herself and opinions (trust another interview we are working on because she has a crazy story to tell) showed that authenticity will never be under-valued. Then you get panellists like Simhle Plaatjies who has 20 years of hockey experience before going into art professionally and working with international brands, showing the versatility and brilliance of black women.

The art panel truly left me in awe and adding more names to my, ‘I’m such a groupie of…’ list. The last pane of the week took place on the 27^th of March, and the focus was music, so you know I had to be there. The music panel featured; international DJs Jean Dominique, Mila-Rose and MamThug, international dancer and stuntwoman Sne Mbatha and was hosted by Fif_Laaa and Leddi G. Firstly, it was lovely to see a panel just full of women and especially in the music space where the voices that are given spaces to be heard and have impact and usually men dominated. This alone helped break down the mental and physical barriers for women in the space. Secondly, hearing all the remarkable things and the perspective of these leaders in their respective spaces just showed how much more development and investment is needed not only in the music space but in women in the music space. There are so many barriers and blockades that the fact they were able to still push through it all while keep their spirit and who they are intact is nothing to take lightly and we are working on making sure their stories and voices get heard on this platform.

I have to mention that after every panel there was a bit of an after-party with DJs, food and drinks to go around and just have people vibe out while we get to know, catch-up, chat, laugh and mingle with all those who came to the panel. These were all dope chill and hang sessions, but the real after-party came on the 28^th of March with the CWA Wrap Party held in collaboration with Soundset Sunday at The Playground. If you don’t know about Soundset Sunday, then you’ve been living under a rock and unfortunately this is not the article to help you move from that rock but I can say this was the Soundset to be hosted on a Saturday and feature two stages. All I can say is that the wrap party really did feel like a party to release your inner creative no matter your occupation and profession. The aesthetics, activation, food, music, people and all-round joy that was had was the perfect way to wrap up a historic week. A big thank you to The Kollektivefor opening worlds, minds and doors for the creative community and we pray for your success so you can keep up the magnificent work and fighting the good fight.

There’s a difference between making noise and commanding presence. With MR BULLY, LaCabra does the latter. This album is a bold statement of intent from an artist who understands exactly where he stands in the culture and where he’s headed.

LaCabra’s journey has always been rooted in movement. As part of the Qwellers, he helped shape a pocket of South African hip hop that feels hungry again. It was less polished, more grounded, more fun. But MR BULLY is where that energy becomes personal. This is him stepping into solo authority, sharpening his voice and fully owning his identity. The “bully” here isn’t about intimidation but more about presence, dominance, and self-belief. It’s about walking into spaces that once overlooked you and moving like you belong there.

That sense of evolution is felt deeply on “5AM in Swaziland”, one of the most striking moments on the project. The track leans into beautiful, layered harmonies that give it a reflective, almost cinematic feel. It’s softer in texture but heavy in meaning. LaCabra looks back at a time when people doubted him, when the vision wasn’t clear to others, and contrasts it with where he is now; literally in another country, eating caviar, living a life that once felt distant. The flex is calm, assured, and earned. The harmonies carry that emotion, making the song feel less like a victory lap and more like a quiet acknowledgment of how far he’s come.

Elsewhere, “Isbhamu” shifts the tone in a different direction. In a space where violence is often glorified, LaCabra uses the track to speak against gun culture and its impact on communities. Instead of celebrating it, he reflects on its consequences, adding a layer of responsibility to the album’s overall message. It reframes the “bully” persona showcasing his awareness of the realities around him and willing to address them.

There’s also a strong sense of self-recognition across the project, especially on “Shout Out to Me” with Nasty C. The track feels like a moment of pause where both artists acknowledge their journeys; the work, the hustle, the consistency it took to get to where they are. It’s not about external validation anymore; it’s about giving that credit to themselves. There’s something powerful in that, especially in an industry where progress often goes unnoticed until it becomes impossible to ignore.

“The Vision” with A-Reece is another standout that captures the album’s tone perfectly. The production is smooth and effortless, creating space for both artists to glide. LaCabra brings in those signature harmonies again, adding texture, while A-Reece delivers a smooth braggadocio controlled, confident, and precise verse. The accompanying video adds another layer, moving through a montage of performance moments that highlight growth, presence, and momentum. It doesn’t try too hard to tell a story; it simply shows the journey unfolding in real time.

Across the album, there’s a balance between ego and introspection. On the surface, MR BULLY is confident, sometimes confrontational, filled with that unmistakable “I’m him” energy. But underneath that is reflection, brotherhood, growth, and survival. By the time you sit with the project fully, it becomes clear that the term “bully” is armour, shaped by experience and used to navigate both the industry and life.

LaCabra released an album that positions him as a leader of note. This is about owning your space, moving with conviction, and understanding that real power isn’t just about being loud but about what you stand for, what you’ve overcome, and where you’re going. Right now, he’s bullying his way into a seat at the table.

After a period of relative quiet from one of pop music’s most consistent hitmakers, Bruno Mars has officially returned and he’s back at the top where he belongs. His latest album The Romantic has already shot straight to number one, reminding the world that when it comes to timeless songwriting and irresistible melodies, Mars rarely misses.

The album feels like a confident return to the lane that made Bruno Mars such a global force. It’s big emotions, massive hooks, and songs that feel tailor-made to live forever on radio and playlists.

One of the early standouts is “Chacha.” The record is pure ear candy the kind of infectious, replay-worthy song that Mars has mastered over the years (it’s definitely going to kill at karaoke parties). It’s playful, rhythmic, and instantly memorable, proving once again that Bruno has an almost unmatched ability to craft pop records that feel both effortless and meticulously engineered.

Then there’s “Risk It All,” a record that will instantly transport longtime fans back to the emotional intensity of his earlier work. The song carries a familiar weight and vulnerability that echoes the spirit of his classic ballad Grenade. It’s dramatic, heartfelt, and delivered with the kind of vocal conviction that only Bruno Mars can pull off.

Another highlight arrives in the form of “Why You Wanna Fight,” which leans fully into the album’s romantic core. The song feels like a true lover’s anthem. Why fight when you can make love is the crux of the song. The song is soulful, and dripping with the kind of sincerity that reminds listeners why Bruno has always excelled at writing about love in all its complicated forms.

Taken together, The Romantic is exactly what the title promises; a celebration of love, vulnerability, and emotional honesty wrapped in Bruno Mars’ signature pop brilliance.

Warner Music Africa recently gave fans and tastemakers a chance to experience the project early through a beautifully curated listening session. The evening was less of a typical industry playback and more of a vibe — an intimate celebration of the album’s mood and energy.

Adding to the atmosphere was a slick Don Julio activation, elevating the entire experience and giving the night a premium feel that matched the elegance of the music itself. It was one of those events where music, culture, and lifestyle intersect seamlessly.

With The Romantic, Bruno Mars proves that even after stepping away for a while, his formula for making timeless music remains untouched. The melodies are undeniable, the songwriting is sharp, and the emotion feels authentic.

In a music landscape that often moves at lightning speed, Bruno Mars reminds us that romance, melody, and great songwriting never go out of