SALIMATA - Jackpot & Foil

Interview by Passion Dzenga | Photography by Liesje Verhave and Pebbles BazurOver the past few years, Jerrau has quietly but confidently carved out his place as one of Amsterdam’s most versatile and forward-thinking DJs. Effortlessly moving between breakbeats, bass-heavy club sounds, alternative electronic hip-hop and soulful house, the Surinamese-Dutch selector has built a reputation for sets that are hard to categorise but impossible to ignore. Whether he’s closing at Lowlands, holding it down in the club at De School, performing at Down The Rabbit Hole with Erykah Badu on the mic or showing us the way during his Patta x Keep Hush session, Jerrau’s approach has always been rooted in curiosity, culture and an instinctive understanding of the dancefloor.Now, after years of refining his voice behind the decks, he steps into a new chapter with his debut EP, It All Starts With This, released on Who’s Susan. A project shaped by discipline, mentorship and a deep love for bass lineage — from Amsterdam to the UK and beyond — the record marks a deliberate beginning. Inspired as much by Sonic soundtracks as by sound system pressure, Jerrau’s move into production feels less like a pivot and more like a natural extension of the world he’s been building all along.We caught up with him to talk about finally committing to the studio, learning to let go during a month-long residency in Nicaragua, his unexpected place within the Black British music ecosystem, and why, whether DJing or producing, the room always comes first.Jerrau is wearing the Patta 3M Reflective Waterproof Rain JacketThis will be your first release after years behind the decks and you have mentioned that you have “flirted” with producing for years, what shifted for you to take it more seriously now?I’ve always been curious about producing and I’ve picked it up a few times over the years, but it never really stuck. I’d dive in, get excited, then I would feel overwhelmed by how many possibilities there are and then life or DJing would pull me back out of it. It was always there in the background though.What really shifted things was when Tsepo, offered to teach me. That felt different. There’s this “each one, teach one” mentality — almost like that Black Panther ethos — and when he reached out, it felt like a moment I wasn’t supposed to ignore. We only had a couple of sessions together but it was really a turning point for me. I took that as a sign that it was time to stop flirting with the idea and actually commit. So when starting this journey, next to the few sessions I had with Tsepo. My friend Tijn also just started making music and for the first few months we went to the studio together all the time just to try to get better and learn from each other.I sometimes think I should have started during the pandemic when there was more time and space to focus, but I’ve realised you don’t find time — you make it. Over the past 18 months, I’ve really treated it seriously: I got access to a studio here in Amsterdam, put in the hours, and approached it with the same discipline I’ve brought to DJing. That consistency is what’s made the difference.The title, It All Starts With This sounds very intentional. What does “this” represent in your musical journey right now?The title actually comes from one of my favourite games, Sonic Adventure 2. I basically have all the dialogue from that game burned into my head. I’m honestly not the best at naming things — even my DJ name is just my actual name — so titling tracks and projects has always been a bit of a challenge for me.When we were finalising the selection, the artwork and the sequencing for the record, that dialogue just kept coming back to me. It felt simple but loaded. It didn’t feel forced or overly conceptual — it just felt right.For me now, “this” represents the starting point. It’s the first proper step into producing, into putting something out that’s fully mine. It’s not necessarily about having all the answers — it’s more about committing to the beginning.Jerrau is wearing the Patta Track Top CardiganHow has your journey as a DJ influenced your approach to producing — and has producing changed the way you DJ?DJing has definitely influenced the production more than the other way around. Years of being on the dancefloor and in the booth teach you what actually works in a room — how tension builds, how long a groove needs to breathe, when to strip things back, when to push. That experience naturally informs how I approach making a track. I’m always thinking about how something will translate physically, not just how it sounds in the studio.Producing has influenced my DJing in a more subtle way. I’ve had to think more carefully about how my own tracks fit into my sets — where they make sense, what they sit next to. But I’m never going to brute-force my own music into a set just because it’s mine. DJing and producing are different practices, and they should be treated that way. For me, the room always comes first. If one of my tracks serves that moment, great. If not, that’s fine too.At the same time, I still feel like I’m learning, and there is a lot to learn. One area I really want to deepen my understanding of is mixing and mastering. I want to understand that final stage of the process properly — not just creatively, but technically — so I can have even more control over how the music translates, both in the club and beyond.Why did you choose to work with Who’s Susan?Who’s Susan is just a really dope label. Over the past few years, I’ve bought pretty much everything they’ve released. I’ve always respected their curation and the world they’ve built around the music.It actually happened quite organically. I was promoting one of my own nights and used one of my demos as the audio for a post. Willem from the label heard it and reached out to ask if I had more material. He connected with the direction I was exploring and felt it aligned with what Who’s Susan was doing. That meant a lot, because it didn’t feel forced — it felt like a natural fit on both sides.That alignment made the decision easy. And it feels full circle in a way — the one feature on the EP is from one of their legacy artists, DJ OSX, formerly known as DJ Windows XP. So to go from being a supporter of the label to releasing on it, and collaborating within that family, feels really special.The artwork for your debut EP aesthetically reminds me of one of your big inspirations, Sonic, was this intentional?Interestingly, the artwork was actually made before we fully put the record together. So it wasn’t a case of me saying, “Let’s make this look like Sonic.” It was more organic than that. Sjon de Baron, who does all the artwork for Who’s Susan, really understands me and what I’m about. He was able to translate the feeling of the music visually, while still keeping it consistent with the label’s wider art direction. I think that’s why it resonates in that way — it reflects my influences without being literal. There’s definitely a shared visual language there, but it came from mutual understanding rather than a direct reference.You traded Amsterdam for a month in Nicaragua at Popoyo’s Secret. What pulled you there, and how did a residency format change your approach compared to festivals or single-night gigs?What really appealed to me about Nicaragua was the idea of stepping outside my usual rhythm. Amsterdam can be intense — fast-paced, scene-driven, and very plugged in. Spending a month somewhere more remote, surrounded by nature and a different energy, felt like a chance to reset.I ended up loving it. I’d go back in a heartbeat. There was something really refreshing about being there — it stripped things back in a good way. The residency format was also very different from a festival or a one-off club set. I tend to approach DJing almost like programming — thinking carefully about structure, context, and what makes sense for a specific slot. During the residency, I played at different times of day, so each set required a different mindset. You can’t approach a sunset set the same way you approach a late-night peak-time slot.What I really enjoyed, though, was the freedom. Being in the same place for a month allowed me to build a relationship with the space and the people. I felt less pressure to prove something and more space to just have fun. I think I let go of a slightly more “pretentious” side of DJing — that idea of only playing very specific records to signal something. It became more about what felt good in the moment. That shift was probably the biggest takeaway.Being a devoted Chelsea supporter, do you feel your connection to the UK through football has influenced your relationship with UK music? And where are you hoping to head next?I was actually living in the UK for my first few years on this earth, Surrey to be exact. It’s funny — the last time I was in the UK for a show, I visited a museum exhibition about the history of Black British music. I was watching one of the video installations and saw this quick flash that looked like me. I kept watching and realised it actually was me — they had included footage from my Patta x Keep Hush set in the exhibition.That was a surreal moment. It made me realise that my connection to the UK scene isn’t just from a distance — in some small way and it was cool to be included in the Black British music ecosystem. I’ve always felt drawn to the UK, not just because I’m a Chelsea fan, but because of the depth of its bass music culture. There’s such a strong lineage of sound system energy and low-end pressure that really resonates with me. That influence definitely shapes how I think about rhythm and space in my own sets. I’d love to spend more time in places like London, Bristol and Manchester — cities with deep bass traditions and strong musical identities. And of course, making it to Stamford Bridge for a Chelsea game is still on the list too!Ready to hear the next step? is out now via Who’s Susan — press play and start the journey with Jerrau. It all starts with this by Jerrau

A Transatlantic Exhibition Centering Joy, Lineage, and the Creative Sovereignty of Women of Color at OSCAM (Open Space Contemporary Art Museum), AmsterdamMarch 6th to May 6th, 2026Eight women and non-binary artists from across the African diaspora, based in six countries, come together in Amsterdam to affirm joy, presence, and flourishing as radical and necessary acts.On March 6, 2026, OSCAM (Open Space Contemporary Art Museum) and ARTNOIR present Watering a Black Garden, a group exhibition that reimagines joy as a radical act of tending and becoming. Centering Black and Brown women as visionaries of abundance, the exhibition frames joy as an intentional and sustained practice of care within Black femme experiences.This landmark exhibition marks a powerful transatlantic collaboration rooted in shared commitments to equity, visibility, and cultural exchange. The exhibition features work by Maty Biayenda, Jeannette Ehlers, Ufuoma Essi, Shaniqwa Jarvis, Rachel Marsil, Aline Motta, Bernice Mulenga, and Nengi Omuku.Connecting New York and AmsterdamWith this collaboration, ARTNOIR makes its debut in the Netherlands, forging a cultural bridge between New York and Amsterdam. A female-majority, Black- and Brown-led platform, ARTNOIR supports artists of color through exhibitions, partnerships, and global storytelling.Together, OSCAM and ARTNOIR expand access, visibility, and opportunity within the contemporary art world, bringing underrepresented voices to the forefront. The partnership connects local audiences with global conversations while positioning Amsterdam-Zuidoost on the international cultural stage.Joy as a Sustained PracticeWatering a Black Garden takes inspiration from a seminal painting by Raymond Saunders, which bears the phrase “watering a black garden” written across a black canvas. The painting serves as both metaphor and call to action for the exhibition’s curators.The exhibition asks: What does it mean to nurture oneself, one’s community, and one’s creative lineage in a world shaped by histories of erasure and ongoing inequity?Through diverse artistic practices, “watering” becomes a metaphor for ongoing, intentional acts that foster flourishing. The garden emerges as a site where memory and lineage are nourished and alternative futures take root. Rather than functioning as a passive backdrop, the garden proposes a way of being—grounded, attentive, and expansive.The richness of the exhibition reflects the fullness of Black and Brown femme life, where radiance is essential rather than decorative. Across disciplines, the artists assert presence as both a personal and political act, resisting invisibility while opening space for healing, connection, and becoming.Marian Duff, Founding Director of OSCAM, shares:“This collaboration feels both natural and deeply meaningful. I have followed ARTNOIR for many years, and I am proud that together we are bringing artists from around the world to Amsterdam-Zuidoost for their Dutch debut.”Larry Ossei-Mensah, Co-founder of ARTNOIR and co-curator of the exhibition, adds:“Watering a Black Garden is both an offering and an insistence. It creates space for women of color to be fully present—joyful, complex, and sovereign. The works in this exhibition remind us that flourishing itself is a form of resistance.”Eight Artists from Across the DiasporaThe participating artists embody this ethos across diverse disciplines and cultural contexts:Maty Biayenda (FR) interrogates the erasure of African narratives in European discourse.Jeannette Ehlers (DK/TT) confronts colonial histories through processes of healing and repair.Ufuoma Essi (GB/NG) explores Black feminist epistemologies and collective memory through video.Shaniqwa Jarvis (USA) captures vulnerability and optimism through photography.Rachel Marsil (FR) reimagines embodiment and identity through performance.Aline Motta (BR) traces familial histories disrupted by colonial violence.Bernice Mulenga (GB/DRC) examines intimacy within the self and the Black queer community.Nengi Omuku (NG) creates immersive worlds reflecting place and belonging.

SALIMATA brings Brooklyn bravado and fearless wordplay to the COLORS stage with a razorsharp performance of ‘Jackpot’ and ‘Foil’, from her latest album ‘The Happening’.

Ploegendienst drops new single “SURINAAMSE BROODJES”. Ahead of their upcoming album "GEEN TITEL" and 2026 live tour. Pre-order "GEEN TITEL" now. 

Young talent from Amsterdam’s nightlife scene to present at special club night in Garage Noord on March 5, made possible by AFK, Productiehuis Nowhere & Echobox Radio. On March 5, 2026, the seven young creators of Echonow, the ten-month talent development program from Echobox Radio and Productiehuis Nowhere, will present their own night at Garage Noord, titled AMBIT. This serves as the final presentation of the program in which they developed their skills across disciplines such as DJing, visual arts, producing, curation, and performance art.Launched in 2025, Echonow was designed as a comprehensive development program to give emerging talents a serious start in Amsterdam’s nightlife scene: a field that can be both challenging to access and sustain a career in. The program featured masterclasses, one-on-one coaching, and access to professional equipment. Over ten months, participants worked on their own projects under the structural guidance of key figures from Amsterdam’s nightlife ecosystem.Thanks to funding from the Amsterdam Fund for the Arts (AFK), we have been able to lower the barriers for young makers in the city. Without this support, the program would not have been possible. AFK specifically backed initiatives that help creators aged 18-27 gain access to nightlife as a cultural and artistic space.During the club night at Garage Noord, visitors will experience a full evening curated entirely by the makers themselves - featuring DJ sets, live performances, and visual art. It’s both a presentation of the results of their ten-month journey and an opportunity for the creators to introduce themselves to pioneers, curators, and others in the field.This event demonstrates how public arts funding operates in practice: how AFK resources are used to nurture new talent and strengthen a vibrant, inclusive nightlife sector. Echonow stands as a concrete success story of sustainable support for emerging creators.Tickets are available now.

Watch Passion DEEZ perform an exclusive live DJ set from the Vice Netherlands office. A high-energy mix showcasing signature selections. 

Interview by Passion Dzenga Nicole Blakk moves like someone who’s already lived three careers. In the space of a year, she’s gone from music being “just a hobby” to a full-time reality — powered by viral freestyles, a DJ Mag nomination, and the kind of co-sign that changes how a room listens. But the most telling parts of her story aren’t the headlines; it’s the grind underneath them: 33 jobs that never fit, a sister who kept paying for studio time when nothing was landing, and a leap from Birmingham to London with £60 and zero safety net.What comes through in conversation is how intentional she is about building: letting the beat decide whether she sings or raps, getting hands-on in collaborations, and insisting every song contains a left turn — a structure switch, a language flip, a new texture. That refusal to be boxed in is also how she navigates a male-dominated industry: she doesn’t argue for space, she takes it, and lets the bars do the talking.In this interview, she breaks down the real origins of her multilingual flow — from performing French so her grandmother could feel the music, to Punjabi “shop tours” that turned student survival into a viral moment — and reframes “Money On My Mind” as more than a catchy hook: a mantra for staying focused when feelings and pressure try to pull you off course. Grounded in faith, community, and a relentless belief in her own vision, she’s stepping into 2026 with momentum — and with a clear message: she’s not here to be “good for a girl.” She’s here to be undeniable.After having such a monumental 2025 — viral freestyles, bucket list collaborations, a DJ Mag nomination — when did it start to feel real to you?It started to feel real when I met my manager, Wez Saunders. Music had always been a hobby for me. I’ve loved making music since I was young, but I studied Digital Marketing at university, did my Masters degree and kept working. I never thought music would become “a thing,” even though I wanted it — I just didn’t know how to get into it.My older sister was paying for studio sessions and music videos, and even when it wasn’t going anywhere, she still believed in me and pushed me to keep going. Then I met Wez, and within a year I was on the Glastonbury guest list performing on Shangri-La main stage, did SXSW, had the Dave feature, and DJ Mag nominations… all of that happened within a year. That’s when it became a full-time job instead of me working random jobs.What kind of jobs were you doing before music became full-time?Honestly, I’ve had 33 jobs. It sounds terrible, but I was always working on something. Hospitality, even construction — nothing ever stuck. I’d leave a job and already be looking for the next one. I just could never settle because I knew music was what I really wanted.When you started making music as a teenager, were you already making the same kind of music we hear now? Or did your sound shift while you were finding your voice?I wasn’t rapping at all back then. I was singing. I was writing poetry and singing. Rapping was new — I only started rapping about two years before I met Wez.What made you start rapping?I started rapping because I was trying to make a diss track to my ex. He was a rapper. From there, I just kept going and didn’t stop.When you’re in the studio, do you approach a track more like a songwriter or like a rapper? What comes first?The beat comes first. I listen to the instrumental, and the type of beat tells me whether I’m going to rap or sing. A lot of producers, before they even hear my stuff, will approach it like a soft guitar vibe because they see a woman and assume I’m going to sing — melodic, not bars. But I get really involved on the production side. I want my music to feel different. I always make sure there’s something different in every song — adding a language, switching the structure, putting rap in the second verse instead of the first, whatever. I feel like I’m very unique as a person, and I try to reflect that in the music. And I don’t plan what I’m going to write before I get there. I get to the studio first, feel it out, and build it from there.So it’s not just “writing over beats” — it’s more like you’re building the record with the producer.Exactly. It’s collaborative. I’m not just jumping on anything — we’re making the music with intent.You mentioned expectations people bring into the room because you’re a woman — but you’re also unapologetic and empowered. What challenges have you faced navigating such a male-dominated industry, especially in studio sessions?A hundred percent. It’s frustrating, and I know I’m not the only woman who feels this. In male-dominated spaces, it feels like you have to prove a point. If I wrote the most basic bars and rapped them, people wouldn’t react — but if a man rapped the same basic lyrics, he’d get the craziest reaction. So I have to make sure I’m doing the most: punchlines, language switches, everything.Even performing — I feel like I have to have the best stage presence, otherwise people hit you with, “She’s alright for a girl.” I heard that once and I was like: no. Don’t add “for a girl.” If I’m next to men rapping, I’m clearly as good as them.The hardest part is trusting yourself. Trusting yourself as a woman in that space can get difficult, and it’s so easy to start thinking you’re not good enough. Men naturally carry this aura of dominance, so you have to put your foot down. Now, when men come with little comments, I let my music do the talking. I’m like, “Cool — put a beat on right now.”When I listen to your music, I hear you switching languages a lot. What’s the intention behind expressing yourself in French and Punjabi?French is actually my first language. It’s the language I grew up speaking. My grandma didn’t speak English — she passed away now — but she was one of my biggest supporters. When I was younger, I’d perform covers like Nina Simone or Ben E. King, and I’d switch some verses into French so she could understand and enjoy it too. I started doing that when I was like 13 or 14, so switching languages just became natural.Punjabi is a different story. I have Indian heritage, but not from a Punjabi-speaking part of India. Punjabi came from my close friend Sana — we’ve been friends 12, 13 years — I used to spend time at her house and we listened to Punjabi music a lot. Her grandparents would talk to me in Punjabi like I understood it, so I picked up little words and phrases. It became the same idea: putting language in for people to enjoy it too. And then the TikTok moment happened.What happened?I was at university, and I ran out of bread and milk. I went to the shop and the guy working there was Indian. I said, “If I sing to you in your language, can I have this bread and milk for free?” I was serious — I had student loan coming in four days, I just needed something to last me. He agreed. My friend recorded it. It went viral on TikTok — to the point I get paid from those videos now. Other shops started inviting me, and I started doing these “shop tours” — going to Indian shops and restaurants, singing, not charging them, helping small businesses with promo, and getting free groceries. It was a win-win.Your song “Money On My Mind” feels like an anthem for manifestation and shifting your mindset. What does “wealth” look like to you beyond money?For me, wealth is love and support. I live far from my family — they’re in Watford — and after uni I got used to loneliness. I’m close with my sister and my mum, but it’s different when people are physically there. My manager and his family became a huge part of that for me — and that was before the music even took off. Holidays together, dinners, group chats, song suggestions, encouragement. They live 15 minutes away. That kind of support is richness.And my older sister has always been that. When I felt like it was pointless, she told me results don’t come straight away. I started at 13 and started seeing results at 22 — that’s 11 years of effort without much back. That was hard. But I’ve always been rich in the sense that I’ve had people who care about me. Now it’s also people online — messages every day, positive energy. I try to give that back too. My real name is Blessing-Nicole, so I try to live up to that — to be what my name says.Let’s talk about the record itself. When you made “Money On My Mind,” what were you trying to capture?I’m very empathetic — I feel what other people feel. If I see someone upset, I’ll carry it all day. And before, that could throw me off what I was doing. “Money On My Mind” captures the shift from dreaming to actually doing — when it becomes a career, not a hobby. It’s me telling myself and listeners: it’s fine to be in your feelings, but don’t let it block your bag, your goals. Stay focused even when it’s heavy.You kicked off 2026 strong — Red Bull Cypher, DJ Mag, everything. What keeps you focused as a young creative?My faith is a big one. I’m Christian, and without that… I don’t know where I’d be. Things can get hard. I left uni, lived in Birmingham because it was cheaper, then I literally had a dream I lived in London. The next day I moved to London with nothing — like £60 in my account. I lived in a shared house with seven women, didn’t unpack my bags, kept telling myself: I’m not going to live here for long. And now I’m in my own apartment.It was faith, prayer, and people around me motivating me — my sister, my manager’s family. They let me stay with them when I was struggling, took me out of the country. I didn’t even realise how weird my situation was until I got out of it. And honestly, I had tunnel vision because I had no other choice. I moved with nothing — I had to make it work.You grew up in Watford, but still made a huge push to live in London. Why was that move so necessary?I left home at 18 for uni. After my master's, I stayed in Birmingham because the rent was cheaper — I had my own apartment for about £600 a month. It was a simpler life. But I didn’t want to move back home, so I took it as a sign and moved straight to London. At the time, I regretted it — crying in the middle of the night like, why did I do this? I had an apartment and now I’m in a tiny room with strangers. But I don’t regret it. I’m glad I did it when I did. And Watford isn’t London at all. Even the transport costs show it — getting into London from Watford can cost you way more than moving around inside London.You featured on Dave’s album — that’s a huge cultural moment. What did that experience teach you about yourself as an artist?That whole experience was transformative. Even getting the call — “Dave wants you on a song” — was crazy. I grew up listening to him, and I was one of those people speculating about his album like everyone else. I didn’t think I’d be on it. That song — “Fairchild” — it felt like the full weight of the story. You can even hear me crying at one point. It’s not just a song — it’s lived reality for so many women. Dave is a master at turning self-analysis into commentary. Stepping into that perspective felt like truth.And the studio experience wasn’t just recording — the first session was three hours of talking about my journey and the music. That showed me he really cared. He didn’t just want a voice — he was intentional. It made me reflect on myself like… the fact Dave is considering me? That’s mad. It taught me that hustling has purpose — you can create something that lasts. That song feels like it could be used in schools, like it’s bigger than music. Even now, it still doesn’t feel real that I’m on a song with Dave.Did that collaboration change how people treat you in rap spaces?Yes. I’m seen differently. I get more respect now in rap spaces. I never bring it up — other people do — but it changed perception. I wish it didn’t take that to make people take me seriously, because I’ve worked hard for a long time. But I’m grateful for the opportunity to showcase myself on such an important project.Your Red Bull Cypher moments went viral — especially the Punjabi one. Did you expect that level of reaction?I expected a reaction to the Punjabi one because I was rapping “Heer” by Jags Klimax — a proper old-school Punjabi classic. It’s one of those songs you only really know if you grew up around it. As soon as I heard a Punjabi beat, I knew I had to do it. It went crazy viral — still going.And the best part is, after that video blew up, I actually went into the studio with Jags Klimax and we recorded a remix together. That was a full-circle moment.But seeing people react to me beyond the Punjabi stuff — just me as an artist — that surprised me. Red Bull really pushed me out of my comfort zone: time constraints, briefs with specific words, and freestyling about objects in front of you. I’d never done that. I started rapping to diss my ex — I didn’t think I’d be rapping about objects on camera.They also choose the beats — you don’t. So you’re forced to adapt. I loved that. It made me a better rapper and a better artist. Now if I’m given a brief, it’s not scary — I’ve done it. It boosted my confidence too. My first episode I was the only girl, so I was nervous — but in the comments, people were calling me the standout, the MVP. I’m grateful to even be picked.You’ve built momentum through platforms like DJ AG, Red Bull, and viral content. How important is radio to you — is it still something you want to pursue?I’m open to everything. Anything helps. Even if something has three listeners — you don’t know who those three people are. I didn’t know Dave was watching my Instagram; he told me he’d been looking for a while. You never know who’s watching.So I’m never closed off. If someone wants me on their platform, I’m grateful — they’ve taken time to support me and push me as an artist.Do you want to do more women-only cyphers too?Yes. I’ve done all-female cyphers — like the Steeze Factory International Women’s Day cypher coming out soon. I love working with women. Even if we get the same brief as men, we’ll write completely differently. And I feel like I bounce better with women because we have similar experiences — it feels good. I’m not closed off to rapping with men — it’s inevitable — I just have to make sure I’m better than them.Whilst Defected traditionally is associated with House Music, you are Published by Defected; how does that relationship work?My manager (Wez Saunders) is the Chairman-CEO-and-co-owner. The Publishing team help with sessions and Wez never puts me in a box. He tells me to create what I’m comfortable with. Some days I’m singing the whole time or writing ballads, some days I’m rapping on a grimy beat. We found a balance and my sound, and I wasn’t rushed.Defected Music Publishing also partners with Warner Chappell, so I’ve been to writing camps and met R&B artists, grime artists, and producers. Through this, as well as opportunities through Sony Music, I have written with house producers too. I’ve done some house toplines, but it’s unlikely I will make house music. But I’m not closed off, you never know what the future may bring.After everything you did last year — Glastonbury, SXSW, DJ AGl — are there plans for more live shows in 2026? Europe maybe?I hope so, but I don’t even know yet. I’ve mostly been recording. But I’m hoping for a similar summer to last year — probably better, because now I actually have music out. Last summer I did Shangri-La with no listeners, no releases — nothing. If I did that then, I have no doubt this summer can be big. I’ve got an amazing team.Can we expect more music in 2026?A hundred percent. I’m releasing this whole year. My first release is actually coming out tomorrow.Before we wrap, what’s the most full-circle “bucket list” moment you’ve had recently?Opening for Lady Leshurr. I grew up on her — I knew her Queen’s Speech word for word. There’s even an old video of me doing it when my mum was in hospital behind me. My whole family went to see her at a festival, and then the next year I was opening for her. She didn’t know who I was at first, but later she told me she’d been trying to find me — she kept seeing my videos but didn’t know my name. Then she asked me to open her London show and I was like… what? We have each other’s numbers now, she texts me encouragement all the time, and I still scream when she messages me. I’m still fan-girling. I keep it real.One last curveball: Arsenal. Where does that love come from?My biological dad supported Arsenal, so I had Arsenal bed sheets, pillowcases, curtains — everything. I played football for about five years — went to a school where Watford scouts footballers. After lockdown, I gained weight and stopped playing, but I’m getting back into it now — training with some girls, planning to find a team in my area.I love Arsenal, but my favourite player is Cole Palmer — which is strange because he’s not Arsenal. I hope one day he signs. I even wrote a song called “Cole Palmer” and the next day he scored a hat-trick. So… you’re welcome.With Money (On My Mind) out in the world, Nicole Blakk isn’t just building momentum — she’s setting the pace. Sharp, self-assured and completely in control of her narrative, she’s proving she belongs at the front of the UK rap conversation. And if this is the focus she’s moving with now, understand one thing: she’s only getting started. 

The second season of Dreaming Whilst Black premieres on February 19 on Omroep ZWART and NPO Start. Omroep ZWART will also host an exclusive screening in the presence of the two leads, Adjani Salmon and Dani Mosely, to which you are invited. The sharp and layered British comedy series, co-produced with A24, follows a young Ghanaian filmmaker trying to make a career amid everyday racism and a hostile system.To celebrate the launch of the new season, Omroep ZWART is organizing an exclusive screening at the Zandkasteel in Amsterdam. For this occasion, creator and lead actor Adjani Salmon and co-star Dani Mosely will travel from London to our capital. Following the screening, there will be an informative panel with Adjani and Dani, in which they will delve deeper into the creative process, the themes of the new season, and their experiences in the film and television world. This promises to be an inspiring evening, with unique insights into the making of a successful, international series. This event is organised in collaboration with our partners: Volkshotel, Patta, WhatsCulture, The Black Archives, and the NPO.In the new season of Dreaming Whilst Black, Kwabena lands his first directing gig on a television series called Sin and Subterfuge. Pressured by actors' egos on set and the commercial demands of executive producers, Kwabena increasingly finds himself at odds with his own ambitions and insecurities as a creator. Meanwhile, Maurice and Funmi navigate life with their newborn, and the arrival of Amy's sister adds to the dynamic. This season further delves into Kwabena's personal relationships and places his professional ambitions within a broader Black-British context. All of this is done with the same humor and warmth that made the first season so successful.Dreaming Whilst Black combines humour with sharp observations about systems and identity, as Kwabena continually clashes with expectations from his own environment.Stream season two of Dreaming Whilst Black from February 19th on NPO Start.

Patta London lit up for the SS26 Cypher — a night powered by community, culture and serious talent. Novelist, Manga, Pozzy, Sonnyjim, Deema, Finn Foxell, Saiming, namesbliss, Tay Jordan, Perry Slim, Jxme5c, Armando Spence, 23 AZ, Lorry and Mozee controlled the mic while Rico Mars and Cam 300 set the pace behind the decks. Special thanks to Mirchi and Drip for keeping the drinks flowing.

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