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SOMBR is the first face of CLASH 133.

From the moment he first exploded onto the technicolour pop landscape, SOMBR – real name Shane Michael Boose – has had his finger on the proverbial pulse of popular culture. Beneath the eye-watering streaming figures and high-profile co-signs, however, lies a tender soul, someone who seeks independence at any cost.

2025 brought debut album ‘I Barely Know Her’ and a slew of international hits, with the coming year promising yet more twists and turns in his narrative. SOMBR lit up our screens at the BRIT Awards with a dazzling, instantly iconic performance, the entrancing opening salvo in a crucial year for this defining pop voice.

CLASH gains an intimate audience with SOMBR live and direct from his New York home, and finds an artist who allows himself space to react, and move forwards. He tells us: “If you listen to my music, you can tell that I don’t have the answers. Just learn to move on. It’ll take time and it’ll be hard, but you will get through it. Even if it’s ugly at times, it’s part of why life is also beautiful.”

A rare and revelatory conversation, SOMBR adds: “I do not have any regrets. I hate when anyone tells me what to do. And that sums me up as a person.”

Order your copy now via the 🔗 in bio…

- - -

Words: @sasha___mills
Photographer: @aaroncrossmann
Fashion: @harryjwclements
Creative Direction: @rbpmstudio
SOMBR wears Saint Laurent by Anthony Vaccarello

Thundercat is the second face of CLASH 133. 

Stephen Lee Bruner, aka Thundercat, is back from a prolonged period of creative respite. Known by the masses as a time-travelling, space-hopping virtuoso and bassist - who transitioned from a session musician to a front-facing artist in the early 2010s – @thundercatmusic returns recalibrated on new album, ‘Distracted’.

Coming six years after his grief-stricken, Grammy-winning epic ‘It Is What It Is’, ‘Distracted’ charts an intense period of self-analysis and excavation. You’ll find the usual Thundercat hallmarks: the cosmic oddities and deviations, the zany character studies, romantic dissolution realised through acidic sketches, the genre-mutating sense of whimsy. But this is a broader, bolder and more pop-facing record than what’s come before.

The title ultimately honours the lateral ways in which Thundercat created the record. The search for clarity came not from the outcome, but the process.

“‘Distracted’ felt true to what life is for me,” he tells CLASH. “It’s about showing up for yourself and the music right now. Because frankly, it feels like the world wants you to fail.” 

Order your copy of CLASH 133: Delirium by clicking the link in the bio.

—

Words: @shazzasherazi
Photography and Artwork: @jasamuller
Fashion: Self-styled 
Creative Direction: @rbpmstudio

Thundercat wears full look @anndemeulemeester_official by stefanogallici; trainers by @schiaparelli; eyewear by @rayban.

Thundercat is the second face of CLASH 133. 

Stephen Lee Bruner, aka Thundercat, is back from a prolonged period of creative respite. Known by the masses as a time-travelling, space-hopping virtuoso and bassist - who transitioned from a session musician to a front-facing artist in the early 2010s – @thundercatmusic returns recalibrated on new album, ‘Distracted’.

Coming six years after his grief-stricken, Grammy-winning epic ‘It Is What It Is’, ‘Distracted’ charts an intense period of self-analysis and excavation. You’ll find the usual Thundercat hallmarks: the cosmic oddities and deviations, the zany character studies, romantic dissolution realised through acidic sketches, the genre-mutating sense of whimsy. But this is a broader, bolder and more pop-facing record than what’s come before.

The title ultimately honours the lateral ways in which Thundercat created the record. The search for clarity came not from the outcome, but the process.

“‘Distracted’ felt true to what life is for me,” he tells CLASH. “It’s about showing up for yourself and the music right now. Because frankly, it feels like the world wants you to fail.” 

Order your copy of CLASH 133: Delirium by clicking the link in the bio.

—

Words: @shazzasherazi
Photography and Artwork: @jasamuller
Fashion: Self-styled 
Creative Direction: @rbpmstudio

Thundercat wears full look @anndemeulemeester_official by stefanogallici; trainers by @schiaparelli; eyewear by @rayban.

Thundercat is the second face of CLASH 133. 

Stephen Lee Bruner, aka Thundercat, is back from a prolonged period of creative respite. Known by the masses as a time-travelling, space-hopping virtuoso and bassist - who transitioned from a session musician to a front-facing artist in the early 2010s – @thundercatmusic returns recalibrated on new album, ‘Distracted’.

Coming six years after his grief-stricken, Grammy-winning epic ‘It Is What It Is’, ‘Distracted’ charts an intense period of self-analysis and excavation. You’ll find the usual Thundercat hallmarks: the cosmic oddities and deviations, the zany character studies, romantic dissolution realised through acidic sketches, the genre-mutating sense of whimsy. But this is a broader, bolder and more pop-facing record than what’s come before.

The title ultimately honours the lateral ways in which Thundercat created the record. The search for clarity came not from the outcome, but the process.

“‘Distracted’ felt true to what life is for me,” he tells CLASH. “It’s about showing up for yourself and the music right now. Because frankly, it feels like the world wants you to fail.” 

Order your copy of CLASH 133: Delirium by clicking the link in the bio.

—

Words: @shazzasherazi
Photography and Artwork: @jasamuller
Fashion: Self-styled 
Creative Direction: @rbpmstudio

Thundercat wears full look @anndemeulemeester_official by stefanogallici; trainers by @schiaparelli; eyewear by @rayban.

Thundercat is the second face of CLASH 133. 

Stephen Lee Bruner, aka Thundercat, is back from a prolonged period of creative respite. Known by the masses as a time-travelling, space-hopping virtuoso and bassist - who transitioned from a session musician to a front-facing artist in the early 2010s – @thundercatmusic returns recalibrated on new album, ‘Distracted’.

Coming six years after his grief-stricken, Grammy-winning epic ‘It Is What It Is’, ‘Distracted’ charts an intense period of self-analysis and excavation. You’ll find the usual Thundercat hallmarks: the cosmic oddities and deviations, the zany character studies, romantic dissolution realised through acidic sketches, the genre-mutating sense of whimsy. But this is a broader, bolder and more pop-facing record than what’s come before.

The title ultimately honours the lateral ways in which Thundercat created the record. The search for clarity came not from the outcome, but the process.

“‘Distracted’ felt true to what life is for me,” he tells CLASH. “It’s about showing up for yourself and the music right now. Because frankly, it feels like the world wants you to fail.” 

Order your copy of CLASH 133: Delirium by clicking the link in the bio.

—

Words: @shazzasherazi
Photography and Artwork: @jasamuller
Fashion: Self-styled 
Creative Direction: @rbpmstudio

Thundercat wears full look @anndemeulemeester_official by stefanogallici; trainers by @schiaparelli; eyewear by @rayban.

Thundercat is the second face of CLASH 133. 

Stephen Lee Bruner, aka Thundercat, is back from a prolonged period of creative respite. Known by the masses as a time-travelling, space-hopping virtuoso and bassist - who transitioned from a session musician to a front-facing artist in the early 2010s – @thundercatmusic returns recalibrated on new album, ‘Distracted’.

Coming six years after his grief-stricken, Grammy-winning epic ‘It Is What It Is’, ‘Distracted’ charts an intense period of self-analysis and excavation. You’ll find the usual Thundercat hallmarks: the cosmic oddities and deviations, the zany character studies, romantic dissolution realised through acidic sketches, the genre-mutating sense of whimsy. But this is a broader, bolder and more pop-facing record than what’s come before.

The title ultimately honours the lateral ways in which Thundercat created the record. The search for clarity came not from the outcome, but the process.

“‘Distracted’ felt true to what life is for me,” he tells CLASH. “It’s about showing up for yourself and the music right now. Because frankly, it feels like the world wants you to fail.” 

Order your copy of CLASH 133: Delirium by clicking the link in the bio.

—

Words: @shazzasherazi
Photography and Artwork: @jasamuller
Fashion: Self-styled 
Creative Direction: @rbpmstudio

Thundercat wears full look @anndemeulemeester_official by stefanogallici; trainers by @schiaparelli; eyewear by @rayban.

Leigh-Anne is the third face of CLASH 133.

For over a decade, the 34-year-old singer-songwriter from High Wycombe was an integral part of one of the biggest girl groups to hit the world stage, Little Mix. Together, they garnered five number-one singles, three BRIT Awards, and over 50 million records sold across the globe. It’s a period that gave Leigh-Anne the platform to perform and express herself within a group dynamic, even if it occasionally stifled her individual quirks.

Years in the making, Leigh-Anne charts her breakaway with debut solo album ‘My Ego Told Me’; a burnished RnB-pop collection the singer has always wanted to create. Informed by her diasporic roots, Leigh-Anne, alongside her close collaborators, have created a cross-continental amalgam: sizzling Afrobeats-informed melodies, chest-thumping Amapiano lines, and robust reggae productions.

For Leigh-Anne, this era is rooted in creative camaraderie, transparency and trust. Creating art away from the major label monopoly has meant reckoning with her past in order to forge her way forward.

“I’m the happiest I’ve ever been,” she tells CLASH. “I guess that’s just from being able to dictate my own life and my own career. I’m going to look back on this moment, my debut album, and know that I’d done it the way I wanted to do it.”

Honouring Leigh-Anne’s history-making, independently-released debut solo album we present fans with the option of two different covers – a rare salute from CLASH to her indefatigable impact.

Order your copy of CLASH 133 Leigh-Anne Cover A or Cover B by clicking the 🔗 in our bio.

Words: @anathecoolcat
Photographer: @aaroncrossmann
Fashion: @bethanyferns
Creative Direction: Rob Meyers
Hair: MomosHair
Make Up: @byjemima.g

Cover A: Leigh-Anne is wearing vintage @gucci skirt, top by @trigg_____ & footwear by @puma

Cover B: Leigh-Anne is wearing a vintage jacket by @bottegavenetaworld, earrings by @mrselfportrait.

Leigh-Anne is the third face of CLASH 133.

For over a decade, the 34-year-old singer-songwriter from High Wycombe was an integral part of one of the biggest girl groups to hit the world stage, Little Mix. Together, they garnered five number-one singles, three BRIT Awards, and over 50 million records sold across the globe. It’s a period that gave Leigh-Anne the platform to perform and express herself within a group dynamic, even if it occasionally stifled her individual quirks.

Years in the making, Leigh-Anne charts her breakaway with debut solo album ‘My Ego Told Me’; a burnished RnB-pop collection the singer has always wanted to create. Informed by her diasporic roots, Leigh-Anne, alongside her close collaborators, have created a cross-continental amalgam: sizzling Afrobeats-informed melodies, chest-thumping Amapiano lines, and robust reggae productions.

For Leigh-Anne, this era is rooted in creative camaraderie, transparency and trust. Creating art away from the major label monopoly has meant reckoning with her past in order to forge her way forward.

“I’m the happiest I’ve ever been,” she tells CLASH. “I guess that’s just from being able to dictate my own life and my own career. I’m going to look back on this moment, my debut album, and know that I’d done it the way I wanted to do it.”

Honouring Leigh-Anne’s history-making, independently-released debut solo album we present fans with the option of two different covers – a rare salute from CLASH to her indefatigable impact.

Order your copy of CLASH 133 Leigh-Anne Cover A or Cover B by clicking the 🔗 in our bio.

Words: @anathecoolcat
Photographer: @aaroncrossmann
Fashion: @bethanyferns
Creative Direction: Rob Meyers
Hair: MomosHair
Make Up: @byjemima.g

Cover A: Leigh-Anne is wearing vintage @gucci skirt, top by @trigg_____ & footwear by @puma

Cover B: Leigh-Anne is wearing a vintage jacket by @bottegavenetaworld, earrings by @mrselfportrait.

Leigh-Anne is the third face of CLASH 133.

For over a decade, the 34-year-old singer-songwriter from High Wycombe was an integral part of one of the biggest girl groups to hit the world stage, Little Mix. Together, they garnered five number-one singles, three BRIT Awards, and over 50 million records sold across the globe. It’s a period that gave Leigh-Anne the platform to perform and express herself within a group dynamic, even if it occasionally stifled her individual quirks.

Years in the making, Leigh-Anne charts her breakaway with debut solo album ‘My Ego Told Me’; a burnished RnB-pop collection the singer has always wanted to create. Informed by her diasporic roots, Leigh-Anne, alongside her close collaborators, have created a cross-continental amalgam: sizzling Afrobeats-informed melodies, chest-thumping Amapiano lines, and robust reggae productions.

For Leigh-Anne, this era is rooted in creative camaraderie, transparency and trust. Creating art away from the major label monopoly has meant reckoning with her past in order to forge her way forward.

“I’m the happiest I’ve ever been,” she tells CLASH. “I guess that’s just from being able to dictate my own life and my own career. I’m going to look back on this moment, my debut album, and know that I’d done it the way I wanted to do it.”

Honouring Leigh-Anne’s history-making, independently-released debut solo album we present fans with the option of two different covers – a rare salute from CLASH to her indefatigable impact.

Order your copy of CLASH 133 Leigh-Anne Cover A or Cover B by clicking the 🔗 in our bio.

Words: @anathecoolcat
Photographer: @aaroncrossmann
Fashion: @bethanyferns
Creative Direction: Rob Meyers
Hair: MomosHair
Make Up: @byjemima.g

Cover A: Leigh-Anne is wearing vintage @gucci skirt, top by @trigg_____ & footwear by @puma

Cover B: Leigh-Anne is wearing a vintage jacket by @bottegavenetaworld, earrings by @mrselfportrait.

Leigh-Anne is the third face of CLASH 133.

For over a decade, the 34-year-old singer-songwriter from High Wycombe was an integral part of one of the biggest girl groups to hit the world stage, Little Mix. Together, they garnered five number-one singles, three BRIT Awards, and over 50 million records sold across the globe. It’s a period that gave Leigh-Anne the platform to perform and express herself within a group dynamic, even if it occasionally stifled her individual quirks.

Years in the making, Leigh-Anne charts her breakaway with debut solo album ‘My Ego Told Me’; a burnished RnB-pop collection the singer has always wanted to create. Informed by her diasporic roots, Leigh-Anne, alongside her close collaborators, have created a cross-continental amalgam: sizzling Afrobeats-informed melodies, chest-thumping Amapiano lines, and robust reggae productions.

For Leigh-Anne, this era is rooted in creative camaraderie, transparency and trust. Creating art away from the major label monopoly has meant reckoning with her past in order to forge her way forward.

“I’m the happiest I’ve ever been,” she tells CLASH. “I guess that’s just from being able to dictate my own life and my own career. I’m going to look back on this moment, my debut album, and know that I’d done it the way I wanted to do it.”

Honouring Leigh-Anne’s history-making, independently-released debut solo album we present fans with the option of two different covers – a rare salute from CLASH to her indefatigable impact.

Order your copy of CLASH 133 Leigh-Anne Cover A or Cover B by clicking the 🔗 in our bio.

Words: @anathecoolcat
Photographer: @aaroncrossmann
Fashion: @bethanyferns
Creative Direction: Rob Meyers
Hair: MomosHair
Make Up: @byjemima.g

Cover A: Leigh-Anne is wearing vintage @gucci skirt, top by @trigg_____ & footwear by @puma

Cover B: Leigh-Anne is wearing a vintage jacket by @bottegavenetaworld, earrings by @mrselfportrait.

Leigh-Anne is the third face of CLASH 133.

For over a decade, the 34-year-old singer-songwriter from High Wycombe was an integral part of one of the biggest girl groups to hit the world stage, Little Mix. Together, they garnered five number-one singles, three BRIT Awards, and over 50 million records sold across the globe. It’s a period that gave Leigh-Anne the platform to perform and express herself within a group dynamic, even if it occasionally stifled her individual quirks.

Years in the making, Leigh-Anne charts her breakaway with debut solo album ‘My Ego Told Me’; a burnished RnB-pop collection the singer has always wanted to create. Informed by her diasporic roots, Leigh-Anne, alongside her close collaborators, have created a cross-continental amalgam: sizzling Afrobeats-informed melodies, chest-thumping Amapiano lines, and robust reggae productions.

For Leigh-Anne, this era is rooted in creative camaraderie, transparency and trust. Creating art away from the major label monopoly has meant reckoning with her past in order to forge her way forward.

“I’m the happiest I’ve ever been,” she tells CLASH. “I guess that’s just from being able to dictate my own life and my own career. I’m going to look back on this moment, my debut album, and know that I’d done it the way I wanted to do it.”

Honouring Leigh-Anne’s history-making, independently-released debut solo album we present fans with the option of two different covers – a rare salute from CLASH to her indefatigable impact.

Order your copy of CLASH 133 Leigh-Anne Cover A or Cover B by clicking the 🔗 in our bio.

Words: @anathecoolcat
Photographer: @aaroncrossmann
Fashion: @bethanyferns
Creative Direction: Rob Meyers
Hair: MomosHair
Make Up: @byjemima.g

Cover A: Leigh-Anne is wearing vintage @gucci skirt, top by @trigg_____ & footwear by @puma

Cover B: Leigh-Anne is wearing a vintage jacket by @bottegavenetaworld, earrings by @mrselfportrait.

Leigh-Anne is the third face of CLASH 133.

For over a decade, the 34-year-old singer-songwriter from High Wycombe was an integral part of one of the biggest girl groups to hit the world stage, Little Mix. Together, they garnered five number-one singles, three BRIT Awards, and over 50 million records sold across the globe. It’s a period that gave Leigh-Anne the platform to perform and express herself within a group dynamic, even if it occasionally stifled her individual quirks.

Years in the making, Leigh-Anne charts her breakaway with debut solo album ‘My Ego Told Me’; a burnished RnB-pop collection the singer has always wanted to create. Informed by her diasporic roots, Leigh-Anne, alongside her close collaborators, have created a cross-continental amalgam: sizzling Afrobeats-informed melodies, chest-thumping Amapiano lines, and robust reggae productions.

For Leigh-Anne, this era is rooted in creative camaraderie, transparency and trust. Creating art away from the major label monopoly has meant reckoning with her past in order to forge her way forward.

“I’m the happiest I’ve ever been,” she tells CLASH. “I guess that’s just from being able to dictate my own life and my own career. I’m going to look back on this moment, my debut album, and know that I’d done it the way I wanted to do it.”

Honouring Leigh-Anne’s history-making, independently-released debut solo album we present fans with the option of two different covers – a rare salute from CLASH to her indefatigable impact.

Order your copy of CLASH 133 Leigh-Anne Cover A or Cover B by clicking the 🔗 in our bio.

Words: @anathecoolcat
Photographer: @aaroncrossmann
Fashion: @bethanyferns
Creative Direction: Rob Meyers
Hair: MomosHair
Make Up: @byjemima.g

Cover A: Leigh-Anne is wearing vintage @gucci skirt, top by @trigg_____ & footwear by @puma

Cover B: Leigh-Anne is wearing a vintage jacket by @bottegavenetaworld, earrings by @mrselfportrait.

Scenes from Stormzy’s House Party last night 🍾

📷 @osiancreated

Scenes from Stormzy’s House Party last night 🍾

📷 @osiancreated

Scenes from Stormzy’s House Party last night 🍾

📷 @osiancreated

Scenes from Stormzy’s House Party last night 🍾

📷 @osiancreated

Scenes from Stormzy’s House Party last night 🍾

📷 @osiancreated

Scenes from Stormzy’s House Party last night 🍾

📷 @osiancreated

Scenes from Stormzy’s House Party last night 🍾

📷 @osiancreated

Scenes from Stormzy’s House Party last night 🍾

📷 @osiancreated

Scenes from Stormzy’s House Party last night 🍾

📷 @osiancreated

Here are some of the best dressed at this year’s Ivor Novello Awards. What were your favourites?

Here are some of the best dressed at this year’s Ivor Novello Awards. What were your favourites?

Here are some of the best dressed at this year’s Ivor Novello Awards. What were your favourites?

Here are some of the best dressed at this year’s Ivor Novello Awards. What were your favourites?

Here are some of the best dressed at this year’s Ivor Novello Awards. What were your favourites?

Here are some of the best dressed at this year’s Ivor Novello Awards. What were your favourites?

Here are some of the best dressed at this year’s Ivor Novello Awards. What were your favourites?

Here are some of the best dressed at this year’s Ivor Novello Awards. What were your favourites?

Here are some of the best dressed at this year’s Ivor Novello Awards. What were your favourites?

Fakemink’s “Terrified .” is finally here. Thoughts?

📹 @020sik

Nia Archives brought her Up Ya Archives label and event series to V&A East last Saturday (May 16th). Presented as part of The Music Is Black: A British Story, the takeover featured DJ sets, talks, workshops and screenings exploring the evolution of jungle, with a particular focus on East London’s grassroots infrastructure and communities that helped sustain the genre.

Co-curated with Rendezvous Projects, the day also included a standout back-to-back set from Nia Archives alongside DJ Flight, Naina and SELECTACEE.

Speaking on the takeover Nia shared: “Am super proud of what we did on Saturday in collaboration with the V&A East and Rendevouz Project,” she explains to CLASH. “It was a really special moment for the East London community. I was overwhelmed hearing all the stories in the workshops and panels from all the people who have lived jungle history, seeing kids as young as 3 making pirate radio cassettes through to people in their 60s teaching locals how they produced music in the 90s on old school Amiga and Cubase set ups, it was a moment for bringing intergenerational audiences together.”

“The installations like Deja Vu FM and the iconic Felt Soundsystem really brought the space to life and I don’t think anything like this had been done in a museum before it felt very original and I would have never thought we could do something like that at an establishment like the V&A! Thank you to everyone who came down and contributed to the day!!”

📸 @_luamaro_ @ellamitchell @yasmin_huseyin

Nia Archives brought her Up Ya Archives label and event series to V&A East last Saturday (May 16th). Presented as part of The Music Is Black: A British Story, the takeover featured DJ sets, talks, workshops and screenings exploring the evolution of jungle, with a particular focus on East London’s grassroots infrastructure and communities that helped sustain the genre.

Co-curated with Rendezvous Projects, the day also included a standout back-to-back set from Nia Archives alongside DJ Flight, Naina and SELECTACEE.

Speaking on the takeover Nia shared: “Am super proud of what we did on Saturday in collaboration with the V&A East and Rendevouz Project,” she explains to CLASH. “It was a really special moment for the East London community. I was overwhelmed hearing all the stories in the workshops and panels from all the people who have lived jungle history, seeing kids as young as 3 making pirate radio cassettes through to people in their 60s teaching locals how they produced music in the 90s on old school Amiga and Cubase set ups, it was a moment for bringing intergenerational audiences together.”

“The installations like Deja Vu FM and the iconic Felt Soundsystem really brought the space to life and I don’t think anything like this had been done in a museum before it felt very original and I would have never thought we could do something like that at an establishment like the V&A! Thank you to everyone who came down and contributed to the day!!”

📸 @_luamaro_ @ellamitchell @yasmin_huseyin

Nia Archives brought her Up Ya Archives label and event series to V&A East last Saturday (May 16th). Presented as part of The Music Is Black: A British Story, the takeover featured DJ sets, talks, workshops and screenings exploring the evolution of jungle, with a particular focus on East London’s grassroots infrastructure and communities that helped sustain the genre.

Co-curated with Rendezvous Projects, the day also included a standout back-to-back set from Nia Archives alongside DJ Flight, Naina and SELECTACEE.

Speaking on the takeover Nia shared: “Am super proud of what we did on Saturday in collaboration with the V&A East and Rendevouz Project,” she explains to CLASH. “It was a really special moment for the East London community. I was overwhelmed hearing all the stories in the workshops and panels from all the people who have lived jungle history, seeing kids as young as 3 making pirate radio cassettes through to people in their 60s teaching locals how they produced music in the 90s on old school Amiga and Cubase set ups, it was a moment for bringing intergenerational audiences together.”

“The installations like Deja Vu FM and the iconic Felt Soundsystem really brought the space to life and I don’t think anything like this had been done in a museum before it felt very original and I would have never thought we could do something like that at an establishment like the V&A! Thank you to everyone who came down and contributed to the day!!”

📸 @_luamaro_ @ellamitchell @yasmin_huseyin

Nia Archives brought her Up Ya Archives label and event series to V&A East last Saturday (May 16th). Presented as part of The Music Is Black: A British Story, the takeover featured DJ sets, talks, workshops and screenings exploring the evolution of jungle, with a particular focus on East London’s grassroots infrastructure and communities that helped sustain the genre.

Co-curated with Rendezvous Projects, the day also included a standout back-to-back set from Nia Archives alongside DJ Flight, Naina and SELECTACEE.

Speaking on the takeover Nia shared: “Am super proud of what we did on Saturday in collaboration with the V&A East and Rendevouz Project,” she explains to CLASH. “It was a really special moment for the East London community. I was overwhelmed hearing all the stories in the workshops and panels from all the people who have lived jungle history, seeing kids as young as 3 making pirate radio cassettes through to people in their 60s teaching locals how they produced music in the 90s on old school Amiga and Cubase set ups, it was a moment for bringing intergenerational audiences together.”

“The installations like Deja Vu FM and the iconic Felt Soundsystem really brought the space to life and I don’t think anything like this had been done in a museum before it felt very original and I would have never thought we could do something like that at an establishment like the V&A! Thank you to everyone who came down and contributed to the day!!”

📸 @_luamaro_ @ellamitchell @yasmin_huseyin

Nia Archives brought her Up Ya Archives label and event series to V&A East last Saturday (May 16th). Presented as part of The Music Is Black: A British Story, the takeover featured DJ sets, talks, workshops and screenings exploring the evolution of jungle, with a particular focus on East London’s grassroots infrastructure and communities that helped sustain the genre.

Co-curated with Rendezvous Projects, the day also included a standout back-to-back set from Nia Archives alongside DJ Flight, Naina and SELECTACEE.

Speaking on the takeover Nia shared: “Am super proud of what we did on Saturday in collaboration with the V&A East and Rendevouz Project,” she explains to CLASH. “It was a really special moment for the East London community. I was overwhelmed hearing all the stories in the workshops and panels from all the people who have lived jungle history, seeing kids as young as 3 making pirate radio cassettes through to people in their 60s teaching locals how they produced music in the 90s on old school Amiga and Cubase set ups, it was a moment for bringing intergenerational audiences together.”

“The installations like Deja Vu FM and the iconic Felt Soundsystem really brought the space to life and I don’t think anything like this had been done in a museum before it felt very original and I would have never thought we could do something like that at an establishment like the V&A! Thank you to everyone who came down and contributed to the day!!”

📸 @_luamaro_ @ellamitchell @yasmin_huseyin

Nia Archives brought her Up Ya Archives label and event series to V&A East last Saturday (May 16th). Presented as part of The Music Is Black: A British Story, the takeover featured DJ sets, talks, workshops and screenings exploring the evolution of jungle, with a particular focus on East London’s grassroots infrastructure and communities that helped sustain the genre.

Co-curated with Rendezvous Projects, the day also included a standout back-to-back set from Nia Archives alongside DJ Flight, Naina and SELECTACEE.

Speaking on the takeover Nia shared: “Am super proud of what we did on Saturday in collaboration with the V&A East and Rendevouz Project,” she explains to CLASH. “It was a really special moment for the East London community. I was overwhelmed hearing all the stories in the workshops and panels from all the people who have lived jungle history, seeing kids as young as 3 making pirate radio cassettes through to people in their 60s teaching locals how they produced music in the 90s on old school Amiga and Cubase set ups, it was a moment for bringing intergenerational audiences together.”

“The installations like Deja Vu FM and the iconic Felt Soundsystem really brought the space to life and I don’t think anything like this had been done in a museum before it felt very original and I would have never thought we could do something like that at an establishment like the V&A! Thank you to everyone who came down and contributed to the day!!”

📸 @_luamaro_ @ellamitchell @yasmin_huseyin

Nia Archives brought her Up Ya Archives label and event series to V&A East last Saturday (May 16th). Presented as part of The Music Is Black: A British Story, the takeover featured DJ sets, talks, workshops and screenings exploring the evolution of jungle, with a particular focus on East London’s grassroots infrastructure and communities that helped sustain the genre.

Co-curated with Rendezvous Projects, the day also included a standout back-to-back set from Nia Archives alongside DJ Flight, Naina and SELECTACEE.

Speaking on the takeover Nia shared: “Am super proud of what we did on Saturday in collaboration with the V&A East and Rendevouz Project,” she explains to CLASH. “It was a really special moment for the East London community. I was overwhelmed hearing all the stories in the workshops and panels from all the people who have lived jungle history, seeing kids as young as 3 making pirate radio cassettes through to people in their 60s teaching locals how they produced music in the 90s on old school Amiga and Cubase set ups, it was a moment for bringing intergenerational audiences together.”

“The installations like Deja Vu FM and the iconic Felt Soundsystem really brought the space to life and I don’t think anything like this had been done in a museum before it felt very original and I would have never thought we could do something like that at an establishment like the V&A! Thank you to everyone who came down and contributed to the day!!”

📸 @_luamaro_ @ellamitchell @yasmin_huseyin

Nia Archives brought her Up Ya Archives label and event series to V&A East last Saturday (May 16th). Presented as part of The Music Is Black: A British Story, the takeover featured DJ sets, talks, workshops and screenings exploring the evolution of jungle, with a particular focus on East London’s grassroots infrastructure and communities that helped sustain the genre.

Co-curated with Rendezvous Projects, the day also included a standout back-to-back set from Nia Archives alongside DJ Flight, Naina and SELECTACEE.

Speaking on the takeover Nia shared: “Am super proud of what we did on Saturday in collaboration with the V&A East and Rendevouz Project,” she explains to CLASH. “It was a really special moment for the East London community. I was overwhelmed hearing all the stories in the workshops and panels from all the people who have lived jungle history, seeing kids as young as 3 making pirate radio cassettes through to people in their 60s teaching locals how they produced music in the 90s on old school Amiga and Cubase set ups, it was a moment for bringing intergenerational audiences together.”

“The installations like Deja Vu FM and the iconic Felt Soundsystem really brought the space to life and I don’t think anything like this had been done in a museum before it felt very original and I would have never thought we could do something like that at an establishment like the V&A! Thank you to everyone who came down and contributed to the day!!”

📸 @_luamaro_ @ellamitchell @yasmin_huseyin

CLASH went behind the scenes on the video shoot for W1zzy & K-Trap’s latest banger, “More Than Rhymes.

📸 @haruki.design

CLASH went behind the scenes on the video shoot for W1zzy & K-Trap’s latest banger, “More Than Rhymes.

📸 @haruki.design

CLASH went behind the scenes on the video shoot for W1zzy & K-Trap’s latest banger, “More Than Rhymes.

📸 @haruki.design

CLASH went behind the scenes on the video shoot for W1zzy & K-Trap’s latest banger, “More Than Rhymes.

📸 @haruki.design

CLASH went behind the scenes on the video shoot for W1zzy & K-Trap’s latest banger, “More Than Rhymes.

📸 @haruki.design

CLASH went behind the scenes on the video shoot for W1zzy & K-Trap’s latest banger, “More Than Rhymes.

📸 @haruki.design

CLASH went behind the scenes on the video shoot for W1zzy & K-Trap’s latest banger, “More Than Rhymes.

📸 @haruki.design

Tara Kumar’s Top New Tunes May 2026

Each month, I am going to curate the songs soundtracking my solo walks, pre-drinks and packed dance floors when I’m spinning. spanning underground discoveries, emerging artists and fresh releases from household names.

Consider this your monthly edit of tracks I recommend all deserve an immediate place on your playlist.

Tap the link in the bio for the full feature 🔗

Tara Kumar’s Top New Tunes May 2026

Each month, I am going to curate the songs soundtracking my solo walks, pre-drinks and packed dance floors when I’m spinning. spanning underground discoveries, emerging artists and fresh releases from household names.

Consider this your monthly edit of tracks I recommend all deserve an immediate place on your playlist.

Tap the link in the bio for the full feature 🔗

Tara Kumar’s Top New Tunes May 2026

Each month, I am going to curate the songs soundtracking my solo walks, pre-drinks and packed dance floors when I’m spinning. spanning underground discoveries, emerging artists and fresh releases from household names.

Consider this your monthly edit of tracks I recommend all deserve an immediate place on your playlist.

Tap the link in the bio for the full feature 🔗

Tara Kumar’s Top New Tunes May 2026

Each month, I am going to curate the songs soundtracking my solo walks, pre-drinks and packed dance floors when I’m spinning. spanning underground discoveries, emerging artists and fresh releases from household names.

Consider this your monthly edit of tracks I recommend all deserve an immediate place on your playlist.

Tap the link in the bio for the full feature 🔗

Tara Kumar’s Top New Tunes May 2026

Each month, I am going to curate the songs soundtracking my solo walks, pre-drinks and packed dance floors when I’m spinning. spanning underground discoveries, emerging artists and fresh releases from household names.

Consider this your monthly edit of tracks I recommend all deserve an immediate place on your playlist.

Tap the link in the bio for the full feature 🔗

Tara Kumar’s Top New Tunes May 2026

Each month, I am going to curate the songs soundtracking my solo walks, pre-drinks and packed dance floors when I’m spinning. spanning underground discoveries, emerging artists and fresh releases from household names.

Consider this your monthly edit of tracks I recommend all deserve an immediate place on your playlist.

Tap the link in the bio for the full feature 🔗

Tara Kumar’s Top New Tunes May 2026

Each month, I am going to curate the songs soundtracking my solo walks, pre-drinks and packed dance floors when I’m spinning. spanning underground discoveries, emerging artists and fresh releases from household names.

Consider this your monthly edit of tracks I recommend all deserve an immediate place on your playlist.

Tap the link in the bio for the full feature 🔗

CLASH is delighted to confirm that we will be re-uniting with SXSW London this summer, hosting a special stage at the Village Underground in Shoreditch.

The event takes place on June 4th, and will be headlined by Nigerian multi-hyphenate Odumodublvck, UK rap riser Kibo, South London figure PS Hitsquad & online phenomenon Takara.

@odumodublvck
@kibo_69_
@ps_hitsquad
@takarathekoala

SXSW London 2026 runs between June 1st to 6th. Tickets can be found in the link in the bio 🔗

CLASH is delighted to confirm that we will be re-uniting with SXSW London this summer, hosting a special stage at the Village Underground in Shoreditch.

The event takes place on June 4th, and will be headlined by Nigerian multi-hyphenate Odumodublvck, UK rap riser Kibo, South London figure PS Hitsquad & online phenomenon Takara.

@odumodublvck
@kibo_69_
@ps_hitsquad
@takarathekoala

SXSW London 2026 runs between June 1st to 6th. Tickets can be found in the link in the bio 🔗

CLASH is delighted to confirm that we will be re-uniting with SXSW London this summer, hosting a special stage at the Village Underground in Shoreditch.

The event takes place on June 4th, and will be headlined by Nigerian multi-hyphenate Odumodublvck, UK rap riser Kibo, South London figure PS Hitsquad & online phenomenon Takara.

@odumodublvck
@kibo_69_
@ps_hitsquad
@takarathekoala

SXSW London 2026 runs between June 1st to 6th. Tickets can be found in the link in the bio 🔗

CLASH is delighted to confirm that we will be re-uniting with SXSW London this summer, hosting a special stage at the Village Underground in Shoreditch.

The event takes place on June 4th, and will be headlined by Nigerian multi-hyphenate Odumodublvck, UK rap riser Kibo, South London figure PS Hitsquad & online phenomenon Takara.

@odumodublvck
@kibo_69_
@ps_hitsquad
@takarathekoala

SXSW London 2026 runs between June 1st to 6th. Tickets can be found in the link in the bio 🔗

CLASH is delighted to confirm that we will be re-uniting with SXSW London this summer, hosting a special stage at the Village Underground in Shoreditch.

The event takes place on June 4th, and will be headlined by Nigerian multi-hyphenate Odumodublvck, UK rap riser Kibo, South London figure PS Hitsquad & online phenomenon Takara.

@odumodublvck
@kibo_69_
@ps_hitsquad
@takarathekoala

SXSW London 2026 runs between June 1st to 6th. Tickets can be found in the link in the bio 🔗

CLASH is delighted to confirm that we will be re-uniting with SXSW London this summer, hosting a special stage at the Village Underground in Shoreditch.

The event takes place on June 4th, and will be headlined by Nigerian multi-hyphenate Odumodublvck, UK rap riser Kibo, South London figure PS Hitsquad & online phenomenon Takara.

@odumodublvck
@kibo_69_
@ps_hitsquad
@takarathekoala

SXSW London 2026 runs between June 1st to 6th. Tickets can be found in the link in the bio 🔗

Ms. Lauryn Hill has shared some insight into why she never released another studio album following the success of The Miseducation of Lauryn Hill.

Responding to a post by @fraim.world stating why they think she never followed up her landmark debut, Lauryn Hill joined the comments herself, explaining that burnout and the struggle to create with integrity played a major role.

“When you’re inspired and desire to be principled, what doesn’t get talked about enough is the drain… nor the challenge to find safety so that you can create with integrity,” she wrote.

She also reflected on the pressures that can come with mainstream success, adding: “Most see opportunity as dollars only and often exclude the ‘sense’. ‘The Score’ nor ‘The Miseducation’ were made because we were ‘allowed’ to represent what we did, we fought for every inch. Wild success can cause greed that begins to denigrate the art for the money.”

Ms. Lauryn Hill has shared some insight into why she never released another studio album following the success of The Miseducation of Lauryn Hill.

Responding to a post by @fraim.world stating why they think she never followed up her landmark debut, Lauryn Hill joined the comments herself, explaining that burnout and the struggle to create with integrity played a major role.

“When you’re inspired and desire to be principled, what doesn’t get talked about enough is the drain… nor the challenge to find safety so that you can create with integrity,” she wrote.

She also reflected on the pressures that can come with mainstream success, adding: “Most see opportunity as dollars only and often exclude the ‘sense’. ‘The Score’ nor ‘The Miseducation’ were made because we were ‘allowed’ to represent what we did, we fought for every inch. Wild success can cause greed that begins to denigrate the art for the money.”

Ms. Lauryn Hill has shared some insight into why she never released another studio album following the success of The Miseducation of Lauryn Hill.

Responding to a post by @fraim.world stating why they think she never followed up her landmark debut, Lauryn Hill joined the comments herself, explaining that burnout and the struggle to create with integrity played a major role.

“When you’re inspired and desire to be principled, what doesn’t get talked about enough is the drain… nor the challenge to find safety so that you can create with integrity,” she wrote.

She also reflected on the pressures that can come with mainstream success, adding: “Most see opportunity as dollars only and often exclude the ‘sense’. ‘The Score’ nor ‘The Miseducation’ were made because we were ‘allowed’ to represent what we did, we fought for every inch. Wild success can cause greed that begins to denigrate the art for the money.”

New Beginnings: @leighannepinnock

Operating within this industry as a young woman of mixed heritage, Leigh-Anne has long grappled with her identity, which she tackles on her long-gestating debut, ‘My Ego Told Me To’. The album pools together a cross-continental sound palette, moving between sizzling Afrobeats-informed melodies, chest-thumping Amapiano lines, and robust reggae productions, glazed over with a slick pop sheen.

It’s a work that shrugs off the doubters and naysayers who questioned the potency of her solo pop era. It’s a work rooted in creative autonomy, collaboration and cross-cultural exchange; it’s an emblem of a chapter in Leigh-Anne’s life that positions her as not just an independent artist, but an advocate for real change.

“I feel like labels don’t trust us enough,” she tells CLASH. “There aren’t enough platforms to boost Black women in music, especially Black women who are doing more Black-leaning sounds. It’s something that really needs to be spoken about.”

Click the link in the bio to read the full cover feature.

Order your copy of CLASH 133 Leigh-Anne Cover A or Cover B by clicking the 🔗 in our bio.

Words: @anathecoolcat
Photographer: @aaroncrossmann
Fashion: @bethanyferns
Creative Direction: Rob Meyers
Hair: MomosHair
Make Up: @byjemima.g
Footwear: @pumasportstyle

New Beginnings: @leighannepinnock

Operating within this industry as a young woman of mixed heritage, Leigh-Anne has long grappled with her identity, which she tackles on her long-gestating debut, ‘My Ego Told Me To’. The album pools together a cross-continental sound palette, moving between sizzling Afrobeats-informed melodies, chest-thumping Amapiano lines, and robust reggae productions, glazed over with a slick pop sheen.

It’s a work that shrugs off the doubters and naysayers who questioned the potency of her solo pop era. It’s a work rooted in creative autonomy, collaboration and cross-cultural exchange; it’s an emblem of a chapter in Leigh-Anne’s life that positions her as not just an independent artist, but an advocate for real change.

“I feel like labels don’t trust us enough,” she tells CLASH. “There aren’t enough platforms to boost Black women in music, especially Black women who are doing more Black-leaning sounds. It’s something that really needs to be spoken about.”

Click the link in the bio to read the full cover feature.

Order your copy of CLASH 133 Leigh-Anne Cover A or Cover B by clicking the 🔗 in our bio.

Words: @anathecoolcat
Photographer: @aaroncrossmann
Fashion: @bethanyferns
Creative Direction: Rob Meyers
Hair: MomosHair
Make Up: @byjemima.g
Footwear: @pumasportstyle

New Beginnings: @leighannepinnock

Operating within this industry as a young woman of mixed heritage, Leigh-Anne has long grappled with her identity, which she tackles on her long-gestating debut, ‘My Ego Told Me To’. The album pools together a cross-continental sound palette, moving between sizzling Afrobeats-informed melodies, chest-thumping Amapiano lines, and robust reggae productions, glazed over with a slick pop sheen.

It’s a work that shrugs off the doubters and naysayers who questioned the potency of her solo pop era. It’s a work rooted in creative autonomy, collaboration and cross-cultural exchange; it’s an emblem of a chapter in Leigh-Anne’s life that positions her as not just an independent artist, but an advocate for real change.

“I feel like labels don’t trust us enough,” she tells CLASH. “There aren’t enough platforms to boost Black women in music, especially Black women who are doing more Black-leaning sounds. It’s something that really needs to be spoken about.”

Click the link in the bio to read the full cover feature.

Order your copy of CLASH 133 Leigh-Anne Cover A or Cover B by clicking the 🔗 in our bio.

Words: @anathecoolcat
Photographer: @aaroncrossmann
Fashion: @bethanyferns
Creative Direction: Rob Meyers
Hair: MomosHair
Make Up: @byjemima.g
Footwear: @pumasportstyle

New Beginnings: @leighannepinnock

Operating within this industry as a young woman of mixed heritage, Leigh-Anne has long grappled with her identity, which she tackles on her long-gestating debut, ‘My Ego Told Me To’. The album pools together a cross-continental sound palette, moving between sizzling Afrobeats-informed melodies, chest-thumping Amapiano lines, and robust reggae productions, glazed over with a slick pop sheen.

It’s a work that shrugs off the doubters and naysayers who questioned the potency of her solo pop era. It’s a work rooted in creative autonomy, collaboration and cross-cultural exchange; it’s an emblem of a chapter in Leigh-Anne’s life that positions her as not just an independent artist, but an advocate for real change.

“I feel like labels don’t trust us enough,” she tells CLASH. “There aren’t enough platforms to boost Black women in music, especially Black women who are doing more Black-leaning sounds. It’s something that really needs to be spoken about.”

Click the link in the bio to read the full cover feature.

Order your copy of CLASH 133 Leigh-Anne Cover A or Cover B by clicking the 🔗 in our bio.

Words: @anathecoolcat
Photographer: @aaroncrossmann
Fashion: @bethanyferns
Creative Direction: Rob Meyers
Hair: MomosHair
Make Up: @byjemima.g
Footwear: @pumasportstyle

New Beginnings: @leighannepinnock

Operating within this industry as a young woman of mixed heritage, Leigh-Anne has long grappled with her identity, which she tackles on her long-gestating debut, ‘My Ego Told Me To’. The album pools together a cross-continental sound palette, moving between sizzling Afrobeats-informed melodies, chest-thumping Amapiano lines, and robust reggae productions, glazed over with a slick pop sheen.

It’s a work that shrugs off the doubters and naysayers who questioned the potency of her solo pop era. It’s a work rooted in creative autonomy, collaboration and cross-cultural exchange; it’s an emblem of a chapter in Leigh-Anne’s life that positions her as not just an independent artist, but an advocate for real change.

“I feel like labels don’t trust us enough,” she tells CLASH. “There aren’t enough platforms to boost Black women in music, especially Black women who are doing more Black-leaning sounds. It’s something that really needs to be spoken about.”

Click the link in the bio to read the full cover feature.

Order your copy of CLASH 133 Leigh-Anne Cover A or Cover B by clicking the 🔗 in our bio.

Words: @anathecoolcat
Photographer: @aaroncrossmann
Fashion: @bethanyferns
Creative Direction: Rob Meyers
Hair: MomosHair
Make Up: @byjemima.g
Footwear: @pumasportstyle

New Beginnings: @leighannepinnock

Operating within this industry as a young woman of mixed heritage, Leigh-Anne has long grappled with her identity, which she tackles on her long-gestating debut, ‘My Ego Told Me To’. The album pools together a cross-continental sound palette, moving between sizzling Afrobeats-informed melodies, chest-thumping Amapiano lines, and robust reggae productions, glazed over with a slick pop sheen.

It’s a work that shrugs off the doubters and naysayers who questioned the potency of her solo pop era. It’s a work rooted in creative autonomy, collaboration and cross-cultural exchange; it’s an emblem of a chapter in Leigh-Anne’s life that positions her as not just an independent artist, but an advocate for real change.

“I feel like labels don’t trust us enough,” she tells CLASH. “There aren’t enough platforms to boost Black women in music, especially Black women who are doing more Black-leaning sounds. It’s something that really needs to be spoken about.”

Click the link in the bio to read the full cover feature.

Order your copy of CLASH 133 Leigh-Anne Cover A or Cover B by clicking the 🔗 in our bio.

Words: @anathecoolcat
Photographer: @aaroncrossmann
Fashion: @bethanyferns
Creative Direction: Rob Meyers
Hair: MomosHair
Make Up: @byjemima.g
Footwear: @pumasportstyle

New Beginnings: @leighannepinnock

Operating within this industry as a young woman of mixed heritage, Leigh-Anne has long grappled with her identity, which she tackles on her long-gestating debut, ‘My Ego Told Me To’. The album pools together a cross-continental sound palette, moving between sizzling Afrobeats-informed melodies, chest-thumping Amapiano lines, and robust reggae productions, glazed over with a slick pop sheen.

It’s a work that shrugs off the doubters and naysayers who questioned the potency of her solo pop era. It’s a work rooted in creative autonomy, collaboration and cross-cultural exchange; it’s an emblem of a chapter in Leigh-Anne’s life that positions her as not just an independent artist, but an advocate for real change.

“I feel like labels don’t trust us enough,” she tells CLASH. “There aren’t enough platforms to boost Black women in music, especially Black women who are doing more Black-leaning sounds. It’s something that really needs to be spoken about.”

Click the link in the bio to read the full cover feature.

Order your copy of CLASH 133 Leigh-Anne Cover A or Cover B by clicking the 🔗 in our bio.

Words: @anathecoolcat
Photographer: @aaroncrossmann
Fashion: @bethanyferns
Creative Direction: Rob Meyers
Hair: MomosHair
Make Up: @byjemima.g
Footwear: @pumasportstyle

New Beginnings: @leighannepinnock

Operating within this industry as a young woman of mixed heritage, Leigh-Anne has long grappled with her identity, which she tackles on her long-gestating debut, ‘My Ego Told Me To’. The album pools together a cross-continental sound palette, moving between sizzling Afrobeats-informed melodies, chest-thumping Amapiano lines, and robust reggae productions, glazed over with a slick pop sheen.

It’s a work that shrugs off the doubters and naysayers who questioned the potency of her solo pop era. It’s a work rooted in creative autonomy, collaboration and cross-cultural exchange; it’s an emblem of a chapter in Leigh-Anne’s life that positions her as not just an independent artist, but an advocate for real change.

“I feel like labels don’t trust us enough,” she tells CLASH. “There aren’t enough platforms to boost Black women in music, especially Black women who are doing more Black-leaning sounds. It’s something that really needs to be spoken about.”

Click the link in the bio to read the full cover feature.

Order your copy of CLASH 133 Leigh-Anne Cover A or Cover B by clicking the 🔗 in our bio.

Words: @anathecoolcat
Photographer: @aaroncrossmann
Fashion: @bethanyferns
Creative Direction: Rob Meyers
Hair: MomosHair
Make Up: @byjemima.g
Footwear: @pumasportstyle

New Beginnings: @leighannepinnock

Operating within this industry as a young woman of mixed heritage, Leigh-Anne has long grappled with her identity, which she tackles on her long-gestating debut, ‘My Ego Told Me To’. The album pools together a cross-continental sound palette, moving between sizzling Afrobeats-informed melodies, chest-thumping Amapiano lines, and robust reggae productions, glazed over with a slick pop sheen.

It’s a work that shrugs off the doubters and naysayers who questioned the potency of her solo pop era. It’s a work rooted in creative autonomy, collaboration and cross-cultural exchange; it’s an emblem of a chapter in Leigh-Anne’s life that positions her as not just an independent artist, but an advocate for real change.

“I feel like labels don’t trust us enough,” she tells CLASH. “There aren’t enough platforms to boost Black women in music, especially Black women who are doing more Black-leaning sounds. It’s something that really needs to be spoken about.”

Click the link in the bio to read the full cover feature.

Order your copy of CLASH 133 Leigh-Anne Cover A or Cover B by clicking the 🔗 in our bio.

Words: @anathecoolcat
Photographer: @aaroncrossmann
Fashion: @bethanyferns
Creative Direction: Rob Meyers
Hair: MomosHair
Make Up: @byjemima.g
Footwear: @pumasportstyle

New Beginnings: @leighannepinnock

Operating within this industry as a young woman of mixed heritage, Leigh-Anne has long grappled with her identity, which she tackles on her long-gestating debut, ‘My Ego Told Me To’. The album pools together a cross-continental sound palette, moving between sizzling Afrobeats-informed melodies, chest-thumping Amapiano lines, and robust reggae productions, glazed over with a slick pop sheen.

It’s a work that shrugs off the doubters and naysayers who questioned the potency of her solo pop era. It’s a work rooted in creative autonomy, collaboration and cross-cultural exchange; it’s an emblem of a chapter in Leigh-Anne’s life that positions her as not just an independent artist, but an advocate for real change.

“I feel like labels don’t trust us enough,” she tells CLASH. “There aren’t enough platforms to boost Black women in music, especially Black women who are doing more Black-leaning sounds. It’s something that really needs to be spoken about.”

Click the link in the bio to read the full cover feature.

Order your copy of CLASH 133 Leigh-Anne Cover A or Cover B by clicking the 🔗 in our bio.

Words: @anathecoolcat
Photographer: @aaroncrossmann
Fashion: @bethanyferns
Creative Direction: Rob Meyers
Hair: MomosHair
Make Up: @byjemima.g
Footwear: @pumasportstyle

New Beginnings: @leighannepinnock

Operating within this industry as a young woman of mixed heritage, Leigh-Anne has long grappled with her identity, which she tackles on her long-gestating debut, ‘My Ego Told Me To’. The album pools together a cross-continental sound palette, moving between sizzling Afrobeats-informed melodies, chest-thumping Amapiano lines, and robust reggae productions, glazed over with a slick pop sheen.

It’s a work that shrugs off the doubters and naysayers who questioned the potency of her solo pop era. It’s a work rooted in creative autonomy, collaboration and cross-cultural exchange; it’s an emblem of a chapter in Leigh-Anne’s life that positions her as not just an independent artist, but an advocate for real change.

“I feel like labels don’t trust us enough,” she tells CLASH. “There aren’t enough platforms to boost Black women in music, especially Black women who are doing more Black-leaning sounds. It’s something that really needs to be spoken about.”

Click the link in the bio to read the full cover feature.

Order your copy of CLASH 133 Leigh-Anne Cover A or Cover B by clicking the 🔗 in our bio.

Words: @anathecoolcat
Photographer: @aaroncrossmann
Fashion: @bethanyferns
Creative Direction: Rob Meyers
Hair: MomosHair
Make Up: @byjemima.g
Footwear: @pumasportstyle

New Beginnings: @leighannepinnock

Operating within this industry as a young woman of mixed heritage, Leigh-Anne has long grappled with her identity, which she tackles on her long-gestating debut, ‘My Ego Told Me To’. The album pools together a cross-continental sound palette, moving between sizzling Afrobeats-informed melodies, chest-thumping Amapiano lines, and robust reggae productions, glazed over with a slick pop sheen.

It’s a work that shrugs off the doubters and naysayers who questioned the potency of her solo pop era. It’s a work rooted in creative autonomy, collaboration and cross-cultural exchange; it’s an emblem of a chapter in Leigh-Anne’s life that positions her as not just an independent artist, but an advocate for real change.

“I feel like labels don’t trust us enough,” she tells CLASH. “There aren’t enough platforms to boost Black women in music, especially Black women who are doing more Black-leaning sounds. It’s something that really needs to be spoken about.”

Click the link in the bio to read the full cover feature.

Order your copy of CLASH 133 Leigh-Anne Cover A or Cover B by clicking the 🔗 in our bio.

Words: @anathecoolcat
Photographer: @aaroncrossmann
Fashion: @bethanyferns
Creative Direction: Rob Meyers
Hair: MomosHair
Make Up: @byjemima.g
Footwear: @pumasportstyle