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Assignment (feat. Black Sherif)

By kiddblack.

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Kiddblack Ghana

Dennis “Kiddblack” Dorcoo’s love for music goes back as far as he can remember. Making music was always the plan, but it wasn’t until 2009, when a chance meeting with fellow music enthusiast, Drilix, on a basketball court set him on the journey of music making. Kiddblack is currently working on fresh content, & folks can expect “classics” from the young rapper. ...   more

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Assignment Lyrics

Assignment Lyrics by KIDDBLACK

Yeah, yeah yeah Big rapgod run the whole game nigga that’s facts You ever see a nigga say he got it like me that’s cap We be outside plotting how to get cheese from the rats  I be outside plotting how to get a bitch on her back I’m only making slaps I’m only thinking racks Nigga that’s facts  I pull up and attack They tryna get me to relax   I’m pushing this shit to the max  I’m never around where they at cos niggas is phony and wack  They hate it when I’m in my bag  But I’m in my bag every time  So hate me is all that they have  

Rapgod ne Amakye Dede trap star ya linki Ma pulli up with the bros ade3 no varieties na y3 passi  Mate s3 niggas y3 Dede  3wo streets no so nso ma chilli  ma chilli ama obiaaa  ma base one side na me spliffi  Zongo boy meny3 dede  Obiaa ntumi nkyer3 me shege  18 mu ha y3n na y3n ahyehy3 kehyire Egu mo tiri so y3 mo sete (pasaa)  Killer boys mp3 Dede  Ma ka akyer3 mo already  Me maa mo assignment  Mo nko bisa panyin nanso mo entie

Won’t ever see me alone cos I got the gang with me  She wanna come visit my home cos she tryna hang with me  All we do is play our role make sure the plan nifty  And then we go and chase the gold even when the task risky  Got Stan with me, he’ll throw them hands if I say so We deep in the cut making moves on the hush man  It’s really better when you lay low  I knew I could rap way before  I did tracks been a god way before I did stables  We came in this shit and we did it ourselves  So we don’t need a seat at the table

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Assignment ft. Black Sherif & DJ FortuneDJ Lyrics

• Genre: Hip Hop & Rap
• Year of Release: 2021

Assignment ft. Black Sherif & DJ FortuneDJ - KiddBlack

Big rapgod run the whole game n**** that’s facts

You ever see a n**** say he got it like me that’s cap

We be outside plotting how to get cheese from the rats

I be outside plotting how to get a bitch on her back

I’m only making slaps I’m only thinking racks

N**** that’s facts

I pull up and attack

They tryna get me to relax

I’m pushing this shit to the max

I’m never around where they at cos n***** is phony and wack

They hate it when I’m in my bag

But I’m in my bag every time

So hate me is all that they have

Rapgod ne Amakye Dede trap star ya linki

Ma pulli up with the bros ade3 no varieties na y3 passi

Mate s3 n***** y3 Dede

3wo streets no so nso ma chilli

ma chilli ama obiaaa

ma base one side na me spliffi

Zongo boy meny3 dede

Obiaa ntumi nkyer3 me shege

18 mu ha y3n na y3n ahyehy3 kehyire

Egu mo tiri so y3 mo sete (pasaa)

Killer boys mp3 Dede

Ma ka akyer3 mo already

Me maa mo assignment

Mo nko bisa panyin nanso mo entie

Won’t ever see me alone cos I got the gang with me

She wanna come visit my home cos she tryna hang with me

All we do is play our role make sure the plan nifty

And then we go and chase the gold even when the task risky

Got Stan with me, he’ll throw them hands if I say so

We deep in the cut making moves on the hush man it’s really better when you lay low

I knew I could rap way before I did tracks been a god way before I did stables

We came in this shit and we did it ourselves so we don’t need a seat at the table.

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Assignment by Kiddblack Ft Black Sherif

Kiddblack – Assignment Ft Black Sherif

Assignment by Kiddblack Ft Black Sherif [Full Mp3 Audio]

With Production credit to DJ Fortune DJ, Sensational Ghanaian rapper, Kiddblack recruits the Man of the Moment, Black Sherif aka Blacko on this beautiful well-crafted record titled “Assignment” a free mp3 song.

Listen up and download the free mp3 song Kiddblack ft Black Sherif Assignment.

ENJOYED KIDDBLACK ASSIGNMENT FT BLACK SHERIF, DOWNLOAD THIS MP3: Eboso by R2Bees

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Download mp3 : kiddblack ft black sherif – assignment.

Ghanaian rapper Sensational Kiddblack unleashed new song tagged “ Assignment ” Ft Man of the Moment popularly known as Black Sherif. Stream and Download free mp3 by Kiddblack Ft Black Sherif – Assignment

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Black Sherif Rocks Large Jeans As He Dances With Dancegod Lloyd In Video: "Fashion God"

• Black Sherif, in a video, danced with Dancegod Lloyd as they jammed to Kidi's Lomo Lomo while wearing oversized jeans
• The musician went toe to toe with the popular dancer as he showed off his moves to the delight of many social media users
• In the comments section of the video shared by Dancegod Lloyd on X, Ghanaians were impressed by Black Sherif's dancing

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Ghanaian musician Black Sherif surprised fans by showing off his dance skills in a video that has gone viral on social media.

The video, shared by popular dancer Dancegod Lloyd on X (formerly Twitter), features the two dancing energetically to Kidi's hit song Lomo Lomo, a song Black Sherif himself is featured on.

In the video, Black Sherif matched Dancegod Lloyd's moves. The musician , who has said in the past that he was a dancer before music, held his own as he danced alongside one of Ghana's most well-known dancers.

Black Sherif faces Dancegod Lloyd in a dance battle, fans react

The biggest highlight of the video was Black Sherif's oversized jeans paired with a sleeveless top. The musician's fashion sense has become a notable part of his brand since he burst onto the scene.

PAY ATTENTION: All celebrity news in one place! Follow YEN's Facebook Broadcast channel and read on the go.

The video went viral, and many social media users expressed their admiration for Black Sherif's dancing. The comments section of Dancegod Lloyd's post was filled with praise, as Ghanaians noted the musician's dance skills.

Many were impressed by how effortlessly Black Sherif kept up with Dancegod Lloyd , considering the dancer's professional background.

Black Sherif impresses Ghanaians

YEN.com.gh gathered some reactions from social media users.

kojoEshun5 said:

"Blackoo make serious bi aaa ma 🤣🤣🤣🤣"

Yz4eva commented:

"Blacko’s smooth with the dance!😂✌🏾"

KwekuRhaster wrote:

Dr Likee and crew spot Esther Smith by roadside, display for her and make her laugh

"The rising of one leg nu why ebi talent give Blacko anaa 😂😂"

nrbobby2 said:

"Walaahi Blacko go fit match DG boot for boot in dancing"

prinokantanka wrote:

"Blacko🤣🤣🤣. This one de3, nkomod3 dressing paaa ooo. Chai."

DianaAdom12 commented:

"The whole Ghana ebi Blacko way fool, you all no see anything yet🤣🤣🤣"

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• Kilos Milos
• Kilos Milos - Single · 2024
• Kwaku the Traveller
• Kwaku the Traveller - Single · 2022
• Shut Up - Single · 2024
• Take Care of Yourself Blacko - Single · 2023
• January 9th
• January 9th - Single · 2024
• The Villain I Never Was · 2022
• Second Sermon (Remix)
• Second Sermon (Remix) - Single · 2021

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Melody, bass, and percussion enclose Sherif’s lyricism.

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About Black Sherif

Ghanaian artist Black Sherif pairs the traditional music of his homeland with modern drill beats, as heard on 2021’s “Second Sermon,” featuring Burna Boy.

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Black Sherif Abruptly Leaves UMAT Event After Fans Electrocuted While On Stage – Full Details HERE!

Black sherif's event dilemma: safety over performance.

Ghanaian musician Black Sherif shocked fans and organizers alike when he abruptly left the event grounds at the University of Mines and Technology (UMAT) in Tarkwa, where he was scheduled to headline a performance.

The sudden departure came after a series of alarming incidents raised concerns over the safety and organization of the event.

The chaos unfolded when Black Sherif, while performing on stage, witnessed two fans getting electrocuted. One of the victims was reportedly in critical condition, a sight that prompted the artist to stop his performance immediately.

Black Sherif left the stage unhappily during his performance at the University of Mines and Technology in Tarkwa after a female fan nearly died from electrocution. pic.twitter.com/i5UsbbxYDO — EDHUB🌍ℹ (@eddie_wrt) August 18, 2024

Expressing his dissatisfaction with the inadequate safety measures and the overall planning of the event, Black Sherif decided to leave the venue.

In a viral video circulating on social media, Black Sherif can be seen walking briskly towards his car, despite desperate pleas from fans and event organizers urging him to continue his performance.

His departure left many fans disappointed, especially as they had reportedly waited for over six hours to see the star perform.

Black sherif in UMaT 🔥🔥🔥 Though he performed for less than 3mins after a student was electrocuted so the show was cancelled 😔 pic.twitter.com/4AYWGVH3RI — Come to Ghana🇬🇭 (@Mharchete1) August 18, 2024

The incident has sparked widespread concern and criticism over the safety protocols at large events, especially in light of the unfortunate occurrences at UMAT.

Many are now questioning the planning and preparedness of the event organizers, who failed to ensure a safe environment for both performers and attendees.

A student got electrocuted at Umat when Blacko (Black Sherif ) was performing. Look at Blacko reaction pic.twitter.com/wIjyEkUNwJ — THEUNIGALLERY (@theunigallery) August 18, 2024

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10 Artists Essential To Ghanaian Hiplife: Reggie Rockstone, Sarkodie, Mzbel & More

In the 1990s, artists and producers from Accra merged the sound and aesthetic of American hip-hop with their Ghanaian sounds and culture. The resulting genre, hiplife, significantly influenced the music coming from Ghana and the African continent.

Ghana has been home to some of the most recognizable musical exports from the African continent, contributing heavily to the globalization and development of the continent's sound. While highlife is regarded as the country’s biggest sonic export, the introduction of hiplife some 30 years ago invigorated the Ghanaian music scene and birthed some of the country's most important artists. 

Hiplife music blends hip-hop from the West with Ghanaian highlife sounds like Jama and Kpanlogo — a sound and dance by the Ga people, who make use of nono (metal bell), fao (gourd rattle), and local drums to play beats. These elements were fused with funk, bass, and boom-bap to create hiplife. Hiplife and hip-hop have aural similarities and both use rapping; both genres also reflect a larger culture. 

While Gyedu-Blay Ambolley is considered one of the earliest rappers, as demonstrated on his 1973 song "Simigwa-Do," the term "hiplife" was only coined in the late 1990s by genre pioneer Reggie Rockstone. Still, American hip-hop had arrived in the Ghanaian capital of Accra by the early '90s and local rappers began to release their own music soon after. Duo Talking Drum were among this early cohort, and their single " Aden" was an underground hit in 1993.

As a movement and culture, hiplife is also an identity,  created to encourage people to be daring in their exploration of sound. Pioneering hiplife artists like Root Eye Samini and Shatta Wale (then known as Bandana) fused dancehall and highlife in the early 2000s to make music which could connect with local audiences.  

Collaborations between artists and producers have been crucial in defining the sound, evolution, and amplification of hiplife. Just as hip-hop has developed a plethora of subgenres , hiplife has birthed other sounds such as azonto and asakaa . An offshoot of asakaa, Ghanaian drill, was among the elements in the new Best African Music Performance Category at the 2024 GRAMMYs.

The story of hiplife includes many important producers, artists and labels, including Kassa Records, DJ Rab, Zap Mallet, Akyeame, Panji Anoff, JayQ, Hammer,   Ex Doe, Chicago, and Okomfour Kwadee. Going forward, the mantle will fall on artists like TicTac, Abrewa Nana, Appietus, and much later a younger generation including  Asem, Richie Mensah , and Beeztrap KOTM continue to amplify hiplife. Afrobeats artists have also taken notice; Tic Tac and Tony Tetuila’s "Fefe Ne Fe " was sampled on the 2019 song "Gbese" by DJ Tunez feat. Wizkid and Blaqjerzee. 

With African music continuing to gain global recognition, the rich sounds emanating from the African continent are ripe for exploration.  Read on for 10 artists who have been essential to the story of hiplife music.

Reggie Rockstone

Reggie Rockstone is regarded by many Ghanaians as the godfather of hiplife, having paved the path for many to pursue rapping as a career. Working with producers like the late Rab Bakari (DJ Rab Bakari), Reggie set the ball rolling for hiplife through songs like "Tsooboi." 

His 1997 album Makaa Maka offered an early template for the sound, fusing Western-influenced hip-hop with traditional Ghanaian highlife sounds. The linguistically adept Reggie Rockstone — a Ghanaian boy who was raised in the UK and New York — rapped in both English and impeccable Ghanaian Twi to the shock and admiration of many. By this singular act, he proved that it was cool to rap in your own dialect and not necessarily in English, like American rappers of the '90s.

Reggie's will to make Ghanaian rap music stand out via releases like Me Na Me Kae , and Me Ka did not go unrewarded. He also scored hits with his singles "Keep Your Eyes on the Road," "Plan Ben," and "AH." He has also collaborated with dancehall giant Beenie Man and Nigerian legend 2Face .

Lord Kenya rose to fame when he joined Slip Music, one of Ghana’s celebrated music labels of the late '90s and mid-2000s. His musicality was undeniable, and his hardcore rap style was adored by many for its energetic flow and delivery.  Likened to Tupac Shakur , Kenya was very direct whenever he was on the mic. He never shied away from any lyrical battle thus earning him the title "rap heavyweight." His swagger on and off the mic made him a star, with many eager to catch him anytime he performed.  

Lord Kenya's street affinity, coupled with great stage performances, left a mark on Ghanaian audiences. His albums — including 1998's Sika Card, Yesom Sika, and Sika Baa — solidified his position as one of hiplife’s most important artists. Kenya's hit singles " Enyomo ," "Medo" and "Sika Mpo Mfa Neho" as well as his verse on the late Daseebre Dwamena’s song, " Kookoo " ushered in a street approach to the rap scene, as seen in the careers of rappers like Kwaw Kese and Kweku Smoke in later years.

Revered, celebrated, and crowned by music rap purists in Ghana as "Rap Sofo" (high priest of rap), Obrafour influenced multiple generations of rappers in Ghana. The artist first gained popularity in the late '90s with his cadence and mastery over his mother tongue, Twi, as well as his storytelling, lyricism, and wisdom.

Obrafour’s flow complemented the work of legendary producer Hammer, who brought hard-hitting drums, horns, and legendary sharp chords to Obrafour’s 1999 album Pae Mu Ka . The album is regarded as the bridge that connected older audiences who dismissed hiplife as a passing fad and the youth, who regarded hiplife as the future of Ghanaian music. Today, Pae Mu Ka is as important to hiplife as Nas’ Illmatic is to hip-hop.

Pae Mu Ka was the first of several collaborations between Obrafour and Hammer. Together, they created a sound that would influence generations of rappers. Obrafour is held in high regard by rappers such as M.anifest , Guru, Ko-Jo Cue , and Pappy Kojo.

Established in Nima, a suburb of Accra, VIP underwent significant personnel changes but never let their commitment to hiplife music falter. Original member Friction later onboarded Promzy, Prodigal, and Lazzy (who later changed his name to Zeal), and Bone championed the vision of the group for over a decade (as well as the departure of  Friction, Bone and Promzy).

Backed by the group's diverse personalities, VIP quickly became one of the biggest music exports of the country, winning six awards at the Ghana Music Awards in (2004), including Song Of The Year for the 2003 hit title track "Ahomka Wo Mu." Over a two-decade period, the group released albums and scored several hits and collaborated with some of the continent's finest, including   2Face , Patoranking and a host of others. Vision in Progress (VIP) epitomized the cultural ethos of hiplife: raw energy, passion and talent.

When Reggie Rockstone, a longtime admirer of the group, arrived in 2014, the group became  VVIP. The group’s success would be further cemented as they crossed over into Nigeria and other parts of the world. "Ahomka Wo Mu" has been sampled and interpolated by various musicians, including songs by   MUT4Y & Wizkid   and Kida Kudz.

While Twi rapping artists dominated the hiplife music industry, very few artists were successfully making music in other local dialects. Tinny — a rapper who raps in Ga, a language spoken by the people of Accra —  rose to the occasion with both rap and fashion. Another product of Hammer’s Last Two record label, Tinny had an unmatched aura that earned him the moniker "Sexy Man Tinny." Early aughts albums such as Makola Kwakwe, Aletse (Akwe Polo), and Kaa Bu Ame still echo in today’s industry. His later works with record producer Richie Mensah on singles like "Ringtone" and "Now I Know" further entrenched his name in Ghana’s hiplife history.

Tinny’s will to pursue rap music in Ga laid the foundation for artists such as Edem , who raps predominantly in Ewe and to a degree music duo Blackstone who performed in Dagbani. Tinny also featured in the BET Hiphop Awards International Cypher (Ghana) alongside Reggie Rockstone, Sarkodie, D Black, Edem, Kwaku-T and Baby G (2010).

In a male-dominated industry, Mzbel created change that still reverberates today through the careers of women like Amaarae , Wendy Shay, Sister Afia and Gyakie . Following in the footsteps of those before her, like Abrewa Nana (a household name in the early 2000s for her role as one of the leading female artists in hiplife), Mzbel's singing and rap skills were not just catchy, but thought-provoking with themes of love, sex, body positivity, and addressing abuse.

Mzbel's non-conformity made her a target by some aspects of the industry . The general public who felt she was a bad influence on younger girls, due to the sensuality in her lyrics and imagery. Yet she was unphased. Mzbel scored national hits with her albums Awosome, and 2005's 16 Years , and touched on issues many regarded as controversial. The rapper stood up for women’s rights and encouraged women to be vocal about things society heavily criticizes women for. She ensured that women were not bullied into silence but instead express themselves fully through art. Her hit single "16 Years" with the late Castro touched on the issue of sexual harassment and abuse young girls face at the hands of older men and, as such, became a national topic.

Since bursting onto the scene in 2008, Sarkodie has churned out multiple hits year after year with a unique flow and delivery. His records touch on multiple subjects, including friendship, family, love, heartbreak, and bad governance. His hold over rap in Ghana has been extended across the continent, making him one of the most influential rappers in Africa.

In 2012, Sarkodie played a pivotal role in the amplification of azonto music (an offshoot of hiplife that melds dance music genre from the early 2010s with upbeat fast-paced sounds and witty comical lyrics) with his song " U Go Kill Me " with fellow rapper E.L. Winning "Artist Of The Decade at the" Ghana Music Awards (2019 ), cemented his influence and status.

Rapping predominantly in Twi, Sarkodie’s ability to find pockets on the beat has made him a frequent featured artist by the likes of Mr. Eazi , Ice Prince, Flavour, Victoria Kimani, Patoranking and a host of other important artists in Africa. Sarkodie won Best International Act: Africa (2012) and the inaugural Best International Flow at the BET Hiphop Awards in 2019.  

Asakaa Boys

In a time when hiplife had taken a back seat to Afrobeats and amapiano on the Ghanaian market, a group of artists from Kumasi (Kumerica) — a slang used to describe people of Kumasi who enthusiasts of American music and culture — burst onto the scene via asakaa, or Ghanaian drill. Inspired by Pop Smoke’s drill music, the sound reflects their lifestyle on the streets of Kumasi, hiplife elements, and American hip-hop culture such as fashion.

The name asakaa originates from the word saka , a flipped slang of the Twi word kasa , which means to speak. Saka , a style of speaking where words are pronounced backwards, was heard in the songs that were released by the Asakaa Boys. The asakaa sound is credited to the Kumasi-based Life Living Records, and signees Jay Bahd, Kawabanga, O’Kenneth, City Boy, Kwaku DMC, Reggie, Sean Lifer, Braa Benk and Skyface SDW under the moniker The Asakaa Boys .

With songs like " Akatafoc ", " Sore ," and "Agyeiwaa," and leading the charge, Asakaa (Ghanaian Drill) has gained recognition locally and internationally in the 2020s.

Black Sherif

Black Sherif may be young, but he has already charted a path of success for himself in Ghana’s music industry which many are yet to match. Black Sherif’s sound, writing, fashion, and mannerisms have earned him admiration. He first tasted popularity when his song "Money" went viral in 2019; two years later he regained public attention in 2021 with his First and Second Sermon songs and after a Burna Boy cosign on " Second Sermon Remix, " Black Sherif's popularity soared.

The artist has gone on to deliver multiple hit songs such as "Kweku The Traveller," "Soja," and a monstrous guest verse on Odumodu Blvck’s "Wotowoto Seasoning." In 2023 he won Artiste of the Year at the Ghana Music Awards and a BET Awards Best International Award . Additionally, he has performed on global stages at MOBO Awards , Wireless Festival, and 2023's AfroNation.

King Paluta

With a charisma like that of Lord Kenya, King Paluta is an energetic rapper with some "thugness" in his delivery influenced by life on the streets of Kumasi. As a young man, he often slept in the studio, where he learned how to operate the equipment in the studio and dropped his first official single in 2015. 

Despite releasing music and being popular in Kumasi, he would only gain national attention in 2023 for " Yahitte ," which earned him the award as the Best New Artist at The Ghana Music Awards in 2024 . In the 2024 alone, he has scored two charting-topping singles, " Aseda " and "Makoma," making him arguably the hottest artist in Ghana.

As a student of hiplife, King Paluta has fully embodied the genre as evident in his music. He has positioned himself to carry on the legacy of those before him as far as hiplife is concerned, and he is on track thus far.

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Living Legends: Kurtis Blow On How Hip-Hop Culture Was "Made With Love" & Bringing The Breaks To The Olympics

More than 40 years after he became hip-hop's first commercial breakout star, Kurtis Blow is still moving the culture forward. The rapper and OG B-boy reflects on hip-hop’s rich history, and the impact of seeing hip-hop represented at the 2024 Paris Games.

On the eve of the first-ever Olympic breakdancing competition, hip-hop legend Kurtis Blow was thrilled. It was the first time one of the core elements of hip-hop culture had reached such a global stage.

Alongside DJ Kool Herc (whose breaks provided the soundtrack for B-boys and girls), Blow is credited with popularizing breakdancing. The rapper began breaking as a teenager in the early 1970s, as part of the Hill Boys breaking crew — named for the Sugar Hill area of Harlem where Malcolm X first started his galvanizing pro-Black movement —  

And while the International Olympic Committee decided to remove breakdancing from the 2028 Olympics , Blow is unbothered. As far as he’s concerned, his legacy and the legacy of breaking itself is all but set in stone. 

"It was definitely something special," Blow tells GRAMMY.com. "And I wasn’t the only one who realized it at the moment it was happening."

Born Kurtis Walker, the Harlem-based Blow began DJing when he was just seven years old. In 1979, the 20-year-old's " Christmas Rappin’ " sold over 400,000 copies and turned the up-and-comer into a household name. But it was his follow-up single, 1980’s "The Breaks," that helped launch a whole new genre: rap music. "The Breaks" became the first hip-hop album to receive a gold certification from the RIAA, and proved that Blow wasn’t just a one-trick pony. 

Kurtis Blow proved to be immediately influential on the then-nascent rap scene. When Rev. Run of Run-D.M.C. started his career, he billed himself as " The Son of Kurtis Blow " to give him an air of credibility that helped propel the hip-hop trio into the pop culture stratosphere. But Blow's influence didn’t begin and end with his "adopted son": Everyone from Russell Simmons to Wyclef Jean has worked with Blow, and he has been sampled by Nas ("If I Ruled The World" is all but an interpolation of Kurtis Blow’s song of the same name), KRS-One and many others. In fact, more than 100 songs have used samples from "The Breaks," and nearly 1,500 songs have used a sample or an interpolation from Blow’s discography. 

Learn more: Essential Hip-Hop Releases From The 1970s: Kurtis Blow, Grandmaster Flash, Sugarhill Gang & More

Kurtis Blow was also one of the first rappers to sign to a major label (Mercury Records) and was the first rapper to be a multihyphenate (in addition to his music, Blow worked as an actor on films like In a Dark Place and California Dreamers , and was the musical coordinator for the legendary hip-hop film Krush Groove ). Blow continues to work steadily in hip-hop today, though he eschews the legendary breaking parties in favor of cultural events that offer a new glimpse into the culture he helped create. 

To wit, Blow is performing with The Hip Hop Nutcracker , in which Tchaikovsky’s classic score is set to breakdancing and modern hip-hop dance; the emcee will perform a brief set to kick off each show. A nationwide tour kicks off in Southern California in November and concludes at the end of December in Durham, North Carolina.

Kurtis Blow spoke with GRAMMY.com about the importance of bringing breaking to the Olympics, reconciling his ministry with modern hip-hop’s message, and his four-decade legacy. 

This interview has been edited and condensed .

Breakdancing has been a huge part of hip-hop culture for many, many years — and it’s long overdue to be recognized on a global scale like the Olympics. What are your thoughts about seeing this movement that you started getting this kind of recognition?

This whole culture that we call hip-hop started back in the 1960s. With the Civil Rights movement, community organizers, and government officials all debating about something so basic: the right to all be seen as equal and free. It was a traumatic time, you know? But we had music that was so relevant to the whole movement. 

By the time the late 1970s and early 1980s came along, everyone was trying to escape all of the traumatic racism that was still going on. And music became our escapism. That’s where breaking came in: everyone was just trying to mimic James Brown on the dance floor. You’d see one guy doing his thing, and everyone would form a circle around him. Pretty soon, someone else would join the circle and challenge him. And before you knew it, there was a whole competition — and whoever won became the most popular in the club. 

That kicked it all off. To see it recognized on such a large scale just reaffirms, to me, that this hip-hop culture of ours was made with love. 

There were breaking films such as 1985's 'Krush Groove' that were completely revolutionary in that it gave everyone — not just those within the culture — a view into the world of hip-hop, and suggested what it could become. At the time, you were becoming the first commercially successful rapper and one of the pillars of what would become the New York sound. Were you aware that you were on the precipice of something revolutionary?

I don’t want to call myself a visionary or anything like that, but I did know that this was something special, because I saw how quickly it spread around different boroughs in New York City. 

From Harlem and the Bronx, and then over into Queens, Brooklyn, and even New Jersey, it was amazing to see everyone just gel around that whole hip-hop scene. As I said before, we all needed that escapism, you know? Forget about your troubles, just come and dance.

With me being in Harlem, right down the block from the Cotton Club and that whole mindset around dancing becoming America’s pastime  — just coming from that era, where we had to go to the parties to have a good time — [I knew] that we had created something that would outlast us. 

Not only did you attend divinity school, but you are also an ordained minister. How do you bridge those two aspects of your life and how do you reconcile being a rapper with being a minister?

That is such a great question, and thank you for asking. 

It’s very simple: God is the Creator. God created hip-hop. We have to start with that, right here. God gave us the talent to perform the music; he gave us the passion to want to spread the music to the masses. He gave us the desire to say, "Hey, come take a look at me! God has blessed me with this — can you do this?"

Now, when you talk about the actual elements of hip-hop — that is, the emcees, and the message that we bring — it’s crucial to understand that we are commanded by God to uplift our community and to show them love. This is the actual essence of hip-hop: peace, unity, love, and just having safe fun. 

My mission is to believe in the faith that God is real, and God is in the miracle business. I have seen nothing but miracles for the last 45-50 years in this thing called hip-hop. And it’s important to understand that God is in the mix, and we are all blessed by the common denominator known as hip-hop. It should be our mission to get that back. 

As for what’s going on today — the nature of the lyrics, the gangster rap, and all the violence — it didn’t really start out that way, did it? And if we can inspire the future for our youth, then we’ve made a difference. Because the future is in their hands, and we need to inspire them. 

But, as a counterpoint, times are different today. And what these men and women are speaking to may not necessarily be destructive — rather, there could be a case made where they’re merely being street poets, and telling the reality of life as they see it. What advice would you give to those people who are telling a different story than the one you told all those years ago?

We are called to be these soldiers, warriors, servants, and communicators. So I understand their reality is different, you know? The world is upside down. The kids out there are just telling it like it is. They’re communicating their reality.

But I think that we should not only communicate how it is, but how it could be. And how it should be. 

Think of how different it would be if they also gave some inspiration for a positive future: "Yeah, we goin’ through this, we goin’ through that, but with God, you can overcome all of that. With prayer, you can have miracles, and blessings, come down."

Even if you just understand the nature of the reality that we’re going into right now — things like mass incarceration, the drug epidemic, gun violence, the war profiteering off of Black and brown bodies — it falls upon the shoulders of the elders of this community, this hip-hop movement, to inspire and communicate the possibilities to the younger up-and-comers. 

They need to understand that they are the product of royalty. They are the descendants of kings and queens of Africa. They need to honor themselves and honor their ancestors, accordingly. 

The culture of hip-hop isn’t just about the music. It’s about fashion, slang, cars, the sports — if you think about it, anthropologically, hip-hop is a civilization onto itself. But, as with all things, so much of it has been co-opted and mainstreamed. How do we bridge the divide between the originators and the colonizers?

Only love can bridge that gap between the ages, the races, our government — the diversity of all these different countries — you know, it needs to be all love. 

This is what it’s going to have to take for us to change our present reality. And I feel that in hip-hop, that is the key to that future. The OG’s had the right mindset: peace, love, unity, and having safe fun. We need to get back to that. 

When you look back on your career and the legacy you leave behind, how do you want to be remembered?

I remember being in divinity school at Nyack College in New York, and the professor asked the whole class the same thing.  And I thought about it for a while, you know? I thought about being remembered as a pioneer of hip-hop — an OG breakdancer — a DJ when I was just seven years old — and an incredible educator. 

But what stuck with me was being known as a man of God. That’s it. Because that encompasses everything that I have been through and survived. All of my success, and everything you know about me, comes from God — and to God be the glory. 

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After a successful first year, Afro Nation Detroit returns to Bedrock's Douglass Site on Aug. 17 and 18. Get to know some of performers who are sure to be weekend highlights, from Uncle Waffles to Scorpion Kings.

Since its inception in 2019, Afro Nation has brought together the world's best and brightest entertainers in Afrobeats, amapiano, R&B, and hip-hop to perform on stages across the world. For the second year in a row, the festival takes over Bedrock's Douglass Site in Detroit — promising to continue its tradition of highlighting the best in Black music.

With its unique Detroit location, the festival bridges the gap between African music, global Black music, and the rich musical traditions that came out of Motown. In fact, the festival's site was once home to the first federally funded housing project for Black citizens in the city; Diana Ross and Smokey Robinson were among its residents. 

Afro Nation Detroit offers as much history as it does global appeal, as its lineup is filled with buzzy rising stars and beloved veteran acts. Among those on the star-studded roster are Nigerian sensations Omah Lay , Rema and Asake , amapiano stars Kelvin Momo and TxC, and hitmakers Lil Wayne and PartyNextDoor . 

Of course, it wouldn't be a Detroit event without native rapper Kash Doll, who performs on Saturday. And she won't be the only Detroiter performing over the weekend: genre-bending soul singer Charity and DJ Donavan Glover will also be repping their city amid sounds from around the globe.

That's just a taste of the exciting performances scheduled to showcase the diversity of Black music in one of its influential cities. Below, get to know eight acts who you won't want to miss at the second edition of Afro Nation Detroit.

Sat., Aug. 17 (Lit Stage)

At the age of 22, Ayra Starr is already making history. In February, The Beninese-Nigerian singer was the youngest nominee in the inaugural Best African Music Performance Category at the 2024 GRAMMYs ; and in June, her debut album, The Year I Turned 21 helped her become the first female Nigerian artist to debut on the Billboard 200 album chart.

Just before her Afro Nation appearance, Starr added another first to her resume: she became the first Afrobeats singer to be part of Amazon Music's Breakthrough Artist program. The honor aligned with the release of her Amazon Music documentary, Dare to Dream , which chronicles her rise to global fame. There's no doubt that Ayra Starr will offer a showstopping performance that proves why she's such an acclaimed artist to watch.

Uncle Waffles

Sat., Aug. 17 (Piano People Stage)

Often regarded as the "princess of amapiano," Uncle Waffles is one of the genre's most forward-facing talents. In less than five years, the internationally recognized DJ/producer has been listed on TikTok's inaugural Visionary Voices Africa List, been nominated at the BET Awards and MOBO Awards; this year, she became the first amapiano artist to perform at Coachella.

Her talents have also earned Uncle Waffles co-sign from Beyoncé — whose Renaissance World Tour homage to Uncle Waffles' "Tanzania" nearly brought the star to tears — Drake, Ciara, and Missy Elliott. Needless to say, Uncle Waffles is an act that you won't want to miss at AfroNation Detroit.

Read More: 11 Women Pushing Amapiano To Global Heights: Uncle Waffles, Nkosazana Daughter, & More

Think Daft Punk , but amapiano. Masked South African DJ duo 2woBunnies decided on the concept of anonymity as a way to create intrigue about their unique take on the genre, and let their music do the rest.

Though it has only been two years since their debut, they have done just that, from garnering more than 1 million likes on TikTok to performing sets everywhere from Dubai to Australia. Following first-time performances in major cities like Paris and Toronto, they'll make their Detroit debut next — and you don't want to miss the excitement they'll bring to Afro Nation. 

Kizz Daniel

Since releasing his breakout single, "Woju," in 2015, Kizz Daniel has been a trailblazer in bringing Afrobeats to the world. And nearly 10 years in, he's continuing to deliver songs that resonate — including a hit remix of "Twe Twe" with fellow Nigerian star Davido .

Kizz Daniel's Afro Nation performance comes on the heels of another fiery remix, as he recently hopped on Nigerian artist Kaestyle's "My Dealer." He'll have plenty of new songs from his own catalog to bring to his set, too, including his latest single, "Double,” and EP TZA . Whether new or old, Kizz Daniel will be ready to give his crowd a lesson in Afrobeats.

Sun., Aug. 18 (Lit Stage)

In May, Shenseea released her sophomore studio album, Never Gets Late Here , which solidified the GRAMMY nominee as one of Jamaica's most promising rising stars. "Hit & Run", the album's single, was warmly received throughout the Caribbean, reaching No. 1 on several charts across Antigua and Barbuda, Turks and Caicos, Bermuda, Barbados, Trinidad and Tobago, and many other countries in the region.

Fittingly, Shenseea first brought Never Gets Late Here to life on stages across the Caribbean, where her onstage energy matched the hyped crowds. She stops by Afro Nation Detroit just after kicking off her Never Gets Late Here North American Tour in Chicago on Aug. 16, so she'll surely be ready to show festgoers why she's so beloved in her home country and beyond.

To say Amaarae is in demand would be an understatement. Sabrina Carpenter personally requested the Ghanaian American artist as an opening act for her forthcoming tour; Childish Gambino featured her on his new album, Bando Stone & the New World , and its accompanying tour; and she recently made history as the first Ghanaian artist to perform on NPR's Tiny Desk.

Her latest release, roses are red, tears are blue — A Fountain Baby Extended Play , are equal parts Afropop and alté, a fusion genre that originated in West Africa and combines hip-hop, R&B and Afrobeats. Her sweet, alluring nature signifies her place as one of the most exciting new talents to take over pop. Don't miss the opportunity to see a new global pop girl take center stage. 

Scorpion Kings

Sun., Aug. 18 (Piano People Stage)

DJ Maphorisa and Kabza De Small — often referred to as the "godfathers" of amapiano — are the men behind Scorpion Kings. Already established in their own right and respected in South Africa's dance scene, the two have been inextricably linked to the global rise of the genre, and the celebration of South African and African music across the globe.

Last month, the pair performed alongside the who's who in amapiano — Kelvin Momo, Oskido, DJ Tunez, DJ Moma, Aquite, and the Descendants — in Central Park, making history as the first amapiano performance in the famed New York landmark. The duo is sure to keep the party going with their signature flair in Detroit.

There is a good chance that you know of DJ Moma. In addition to being one of the founding members of Everyday People, the Sudanese American DJ has been playing African music in venues throughout the country and world for over a decade.

His blend of African and Diasporic music, and incorporation of soca, amapiano, and dancehall are a celebration of everything that is global Black music. It is more than music to him, but a way to bring Diasporic musical traditions to the forefront, in an effort to connect and unify People of the African Diaspora across the globe. His mission will make for an Afro Nation Detroit moment that is as meaningful as it is joyful — a combination that's exactly what the fest is all about.

Photo: Salihah Saadiq

Peter Cat Recording Co. In 'BETA' Mode: How The Elusive Indian Band Melds Sounds & Sincerity

Peter Cat Recording Co.'s latest album, 'BETA,' is a study in growth — both sonically and in life. Ahead of an international tour, including dates with Khruangbin, members of the band discuss their aural evolution.

With a voice that sounds as if it were emanating from the depths of a smoky lounge somewhere just off the Las Vegas strip, guitarist and singer Suryakant Sawhney beckons you into a world that is at once foreign and very familiar. "Maybe I'm a fool, a fool like you/ Believing in heaven, from inside a zoo," the Peter Cat Recording Co. frontman croons over a sparse melody that swells with each verse. 

Wherever in the world we are — the group's latest album begins with silence, then explodes with a speaker-breaking bang designed to disorient — is irrelevan t. Peter Cat Recording Co. may be based in  New Delhi, India, but the quintet's sonic locale reflects a global interest. Their latest album, BETA , melds guitar-driven rock with jazz, Indian pop, and psychedelia. 

"Making something new now is this concerted process you have to take," Sawhney tells GRAMMY.com. "You mix your own culture with what you learned outside your own culture, and you start making these new mutants sort of songs." 

These musical mutations appear and evolve through Peter Cat Recording Co.'s catalog. Over multiple studio albums and a compilation, the group has tackled big band ("Portrait Of A Time"), dance music ("Love Demons") and, more recently, surrealist disco on BETA 's "21c." But BETA offers more than simply scratching the genre-bending itches of its members; it delivers "stories about the future told 50 years in the past, to make sense of the present, on our only home, planet Earth,” per a press release on the largely songwriting-based project. 

The self-produced album tackles themes of marriage, childbirth and beyond. In fact, a child was crucial in the name of their record: Members put five potential album titles in a hat and let drummer Karan Singh's 6-month-old son pick one. BETA — a Hindi word for "child" — was the winner. 

On Aug. 14, the group will kick off a 77-date tour through the U.S., Europe, and India, featuring both headlining sets and support for Khruangbin . Suryakant Sawhney and multi-instrumentalist Kartik Sundareshan Pillai spoke with GRAMMY.com about creating BETA , the state of rock bands in India, and more.

This interview has been edited for clarity.  

Tell us a bit about the seeds that were planted that led to this new record.

Suryakant Sawhney: We had a specific recording session, which I think really jumpstarted the whole process. We all lived in Goa for the last few years, and there was this one little house we rented out; this old, 2-300-year old little cottage, which was owned by a priest. I was trying to do a film shoot or a music video shoot or something, and it just sounded great and looked beautiful.

So we decided to rent it from the church. We landed up there at 2, 3 a.m., set up for a few hours, and I think recorded a bunch of music for five, six hours 'til the dawn.

Kartik Sundareshan Pillai: I think it's that recording space. Later on, [we went to] Joshua Tree and there's another recording studio over there that we worked at for two weeks. Plus, just having a bunch of songs that we knew were going to fit together.

How was the vibe out in Joshua Tree?

Pillai: Yeah, that was pretty incredible. Rabbits and cherries. It was a very, very, very pretty place.

And take us into the writing of the record a little bit. How does that work with you guys?

Sawhney: There's basically three different ways we go about writing a song. One will be, one of the songwriters — in most cases, it's me right now — I'll bring a song which is more than half finished in terms of arrangement, writing lyrics, where the song space is. Then the rest of the band joins in and we try to finish it.

Then there's something which is far more spare, and then everybody just takes a go at it, like adding parts. And then the third variation, there's almost nothing, which is rarer. We’re very much a songwriter-driven project.

Then it takes years to just come to terms with it, make our peace with it, because we also produce it ourselves. We get into this unholy cycle of making it, hating it, wasting our time, then re-recording it, then looking back and being like, "Oh, that was good enough. Why dont it again?" Finally, at the end of the day, you settle with what you have.

I was reading a ' Variety ' interview with you guys last year and they called you “One of the last few remaining bands in India.” That was a year ago. What's the landscape in your slice of the country right now as far as indie and guitar music?

Pillai: I think it's more electronic [music happening], but there are lots of bands now slowly coming back. There was one period of time where there was almost nothing, and then now they're starting to kind of pop up here and there, like Donraj,  All Parks Are Green. Pacifist.

Then there's some friends of ours who also have makeshift bands. There's another band called Nigambodh.

Sawhney: Who makes a living off being a band? I would say at this point, [there are] very few left. 

Kind of the same in America, to be honest. What precipitated interest kicking up, or the number of bands kicking up in the last year or so?

Pillai: Boredom, I guess.

Sawhney: I think it's just that every new generation has to make the same mistake and figure out this is not a very economically viable process. They don't realize it because being a band is initially so cool, or it feels good, then it gets complicated.

There's a lot of hip-hop being made right now in India. It's finally caught up here. And there's little electronic music. I think people who make bands always will definitely for a while be more marginal in the music scene, just because it's such a labor-intensive process, as compared to the other forms of music.

Read more: The Evolution Of Bollywood Music In 10 Songs: From "Awaara Hoon" To "Naatu Naatu"

I also perform as an electronic musician , and I can tell you that's just easier. I go on stage with my mic and my DJ console and everything, and I'm basically doing karaoke. All of that is just so simple compared to being in a band, which is a labor-intensive, economic-intensive life-intensive process. It's a real gamble. 

What has Peter Cat Recording Co. done to engender that resilience, as a band, but also a business?

Sawhney: I think we've definitely had moments where it looked really bleak and difficult, and something lucky happens. We also persevered. We did a lot of it ourselves initially and we still do, in terms of learning how to record ourselves, make our own videos, produce ourselves, managing the whole thing. We learned how to produce the music ourselves at a very early stage, and that made us self-sufficient.

Pillai: Songwriting to recording, to producing, mixing, mastering, artwork — literally everything we did learn. Eventually we got management and we also got lucky with labels and people approaching us.

Can you talk about crafting the sound of the new record, or how you wanted it to come across from a production standpoint?

Sawhney: At least in the production aspect, I think there's a bit more experimentation in terms of bringing in non-classically band sounds, moving away from just a guitar-driven thing. There's a lot more sample electronic music, hip-hop related elements. That just comes from the fact that we make multiple kinds of music individually. The band is sort of just one of our things and it becomes something we bring to the band and it adds up slowly.

Some songs just take on a life of their own that way. From my angle, there was definitely a concerted effort to move away from the older sound of Bismillah . I was hoping that there are some instances in the new album where you could sit down and be like, I'm not sure what this is, and still preserve the fact that it's enjoyable and accessible at some point.

Making something new now is this concerted process you have to take. You mix your own culture with what you learned outside your own culture, and you start making these new mutants sort of songs. [The trick is] how to make them sound sincere in a way, without just forcing it. 

Pillai: In the songs that I ended up writing, they just come in some kind of burst. For one of the songs, how we actually ended up composing it was [keyboard/trumpet player Rohit] Gupta played the keyboard separately. I went in an hour later when I had woken up and I just sang to what he had already played; that's pretty much already 70 percent the song. I mostly just tend to go with that first moment of inspiration, just follow it through.

Any MVP moments from your bandmates that you'd like to shout out on the record?

Sawhney: Some of them were in Joshua Tree. I think after the last tour we did in America, we had some great moments of [working] on something on the spot.

Pillai: [On "Just Another Love Song"], Suryakant and [bassist Dhruv] Bhola, just played it through. I think we took one take of this  song. It was completely fine and we just kept it.

Awesome. And what do you guys have coming up? What would you like to plug?

Sawhney: We have that new album apparently. And then we have a tour coming up, an elaborate, long, drawn-out tour. We'll go to America, we'll go to Europe and we'll end in India in December. And I think in the meantime, we'll be making some more videos. We'll be doing the standard stuff right now and hopefully by the end we'll twist into something more unnecessary.

Where do you see your regional scene going in the next five, 10 years? What trajectory is it on?

Pillai: Not really a cohort. It's just a bunch of bands. The indie scene by itself has been getting bigger ever since 2007, or the '90s even. [I'd expect] more festivals, just more stuff happening in general. Five, 10 years, it should just be bigger,

Sawhney: Bands I don't see going anywhere. I think hip-hop will reach some sort of crescendo. Electronic music is always going to do okay because I think rich people really enjoy it in India. I don't know if that's pessimistic, but that's kind how it works.

Pillai: I think everything's going to be fine.

Do you have a favorite song on 'BETA'?

Pillai: I believe it was the third song, "Suddenly." But it all flows nicely. What's your favorite song?

Sawhney: " Beautiful Life, " because I hate my life. [ Chuckles lightly. ] So it's nice to write a song about a better life.

With reporting by Morgan Enos and Jessica Lipsky

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Photo: Shoakland

Victony's debut album, 'Stubborn,' is just months old, but the young Afrobeats star is rising fast. Ahead of his first headlining U.S. tour, Victony detailed the creative process behind his new album and his predictions for the next year in Afrobeats.

To say that the past year has been an eventful one in the dynamic world of Afrobeats would be, at best, a gross understatement. The genre's list of global accolades has continued to swell in size, including multiple nominations at the 2024 GRAMMY Awards , expansive cross-border collaborations, and inaugural appearances on some of the world’s most coveted stages.

Simultaneously, Afrobeats has been undergoing something of an identity crisis, in which listeners have criticized sonic monotony and Western pandering of some artists. In the immediate wake of this criticism, as though on cue, came a slew of forward-thinking projects from the genre’s biggest stars, igniting the mainstream scene’s creative progression. Among these stars is 23-year-old Afrobeats sensation Anthony Ebuka Victor, known widely as Victony .

His debut album, Stubborn , is barely two months old yet has already received high acclaim from top Afrobeats pundits and laymen alike. Therein, Victony tells his life story for the first time, complete with vivid songwriting that delves into themes of childhood, romance, and dogged resilience. With features from Nigeria’s Asake and Shallipopi , as well as American acts Teezo Touchdown and Saint JHN, Stubborn 's sonic meter explores Afrobeats with unending - and unmatched - innovation.

Victony , however, is no novice when it comes to putting out pristine bodies of work. His 2020 EP Saturn sounded nothing like a 19-year-old’s debut; singles “Jo Riddim” and “Space and Time” revealed serious sonic maturity. His subsequent EP Outlaw, which followed his breakout as the feature on Mayorkun’s “Holy Father,” included addictive hits “Apollo,” “Jolene,” and “Soweto.” The latter, of course, took the world by storm and led to a remix featuring Don Toliver and Rema, which peaked at No. 5 on the Billboard Afrobeats chart.

Between this, his debut on the ColorsxStudios platform, his assist on Burna Boy ’s “Different Size,” and his record deal with the L.A.-based Encore Records, it is difficult to tell just when this young boy from Ojo, Lagos became a continental and global star. What’s more, he’s soon to push his story outside of Nigerian borders, kicking off his Stubborn North American tour on Aug. 6.  

Ahead of this tour, Victony sat down with GRAMMY.com to discuss his creative process, the importance of telling his story, and all things Stubborn .

'Stubborn' features excellent songwriting about your life experiences, though it's not the first time you've done so. What makes 'Stubborn' different from the other work in your discography?

Stubborn has my story; it’s where I get to properly introduce myself. The [ Outlaw ] EP is like Yeah, this guy can sing, he knows all this Afrobeats stuff. Let’s put a good body of work together for people to enjoy . The Stubborn album is saying, This is Victony . This is where he’s from. This is what he’s about .

You’ve mentioned before that veteran Nigerian rapper Olamide encouraged you to make 'Stubborn' a full-length album as opposed to an EP. Had you been ready for an era shift at the time that you spoke to him?

I was prepared for an era shift, but my mind was just stuck on an EP because that was the plan since last year. Sometimes, you can’t even see what everything looks like when you’re really in it. You have to extract yourself from the situation and really look at it. But speaking to Olamide, once he mentioned the album, it felt possible. I was like, Why am I not even thinking about an album?  

'Stubborn' is an incredible testament to resilience, but you also explore other themes like love and betrayal. What is the overarching message that you wanted the project to convey?

Resilience is the boldest statement that the project has. But within all that, there are other things that I’ve been through, like the stuff that you mentioned, that didn’t change me as a person.

I still have the ability to love, and I still have the ability to receive love. So obviously, that reflected in a few songs on the project because I still go through those emotions. I’m still human regardless of everything I've been through.

Your feature list is quite expansive — we have Shorae Moore, Shallipoppi , Saint JHN, Teezo Touchdown, and Asake . Did you have an idea of who you wanted on the project beforehand, or was your feature selection process more organic?

I’m always curious to see what this and this will sound like, or what doing this and this will look like. So I just make songs and think about who will be perfect on those songs. I didn’t think of it as, I want an album, who are the guest features?  

One thing that the features all have is authenticity. These people have a voice, they have a style, they have something that they stand for. And that is something that Stubborn is also preaching — authenticity. So collaborating with these people helped to bring very interesting ideas to life. Because one wouldn’t ordinarily imagine a Victony and Asake feature, or a Victony and Teezo feature. But when somebody who is authentic collaborates with somebody who is authentic, something has to happen. We were just trying to create something, and I love creating.  

Learn more: Meet The Latest Wave Of Rising Afrobeats Stars: AMAARAE, BNXN, Oladapo & More

You have a U.S. tour coming up which is extremely exciting. You’ve toured with Rema before, but this will be your first-ever solo tour. How are you feeling?  

I’m actually very excited. We’ve been planning what we want the tour to feel like, because it’s important to think about the feeling that you want to leave people with. I think that this tour is the biggest opportunity to showcase what the album is really about. Having to go on stage, perform for an hour plus. I don’t think I've ever done that nine times in a row in nine cities. So we’re planning everything to make that all come to life.

What do you want your U.S. audience to take away from your tour?

I want my U.S. audience to feel the essence of my journey and connect with my music. This tour is a journey through my experiences and my evolution as an artist. You'll get the party anthems as well as the soul-stirring ballads. I want them to leave each show thinking, This is what that Victony guy is about: raw talent, authenticity, and a sound that resonates deeply .

Give us your Afrobeats predictions for the year — what should we expect from the scene?

I just feel like it’s about to be a madhouse. Tems just dropped, Ayra Starr just dropped, Ruger & BNXN just dropped. And Wizkid is yet to drop, Davido is yet to drop, Fireboy DML is yet to drop. I don’t think we’ve had a year like this. Ever. It’s like everybody is dropping a project this year.

Read more: Tems On How 'Born In The Wild' Represents Her Story Of "Survival" & Embracing Every Part Of Herself

My prediction is that this is the start of something for Afrobeats . Before now, what people would tell you is that Afrobeats artists all share one fanbase. But everything is about to change because of the volume of music coming out. It’s going to really push structure with the fans.

Looking back from your debut EP to the present day, what comes to mind? Did you foresee yourself becoming what you are now?

I always knew that everything that’s currently happening would happen. I just didn’t know what was going to make it happen. I didn’t know that this was the direction. It’s been interesting because at one point, you just have life experiences that influence your art, and then the direction changes. That’s what it’s been for me because I like my art to reflect who I am at any given time.

So, who knows what’s going to happen next? After Saturn , I didn't foresee my story changing. And now new experiences have come, and those have also changed me. I don’t know what’s going to happen next, but one thing’s for sure, the journey is just beginning. I’m excited to see where this path leads and to continue sharing my story with the world.

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