The Stories You Need to Know
Get your daily fix of what’s hot on the continent and the diaspora, May 12.
Sampha’s ‘Process’ Film Is a Sweeping Journey Back Home, In Search of Self
Sampha’s ‘Process is a stunning journey into his familial roots, the magic of Sierra Leone and the mystery of feminine energy.
Janka Nabay: 10 Things I Love About Sierra Leone
The king of ‘bubu’ music, Janka Nabay, tells us his 10 favorite things about his home of Sierra Leone.
OkayAfrica’s 100 Women
OkayAfrica’s 100 Women is our first annual look at the women making an impact on the African continent and in the diaspora. From the biggest names in culture to young up-and-comers, we’ve got ’em.
Sampha’s ‘Process’ and the Necessity of Vulnerable Black Masculinity
In his new album ‘Process,’ Sampha makes sculptures out of his skeletons.
Sampha’s ‘(No One Knows Me) Like the Piano’ Video Is Full of Soul
Sampha shares his latest music video for “(No One Knows Me) Like A Piano” featuring British-Ghanaian model, Adwoa Aboah.
Sierra Leone’s ‘Bubu Music’ King, Janka Nabay, Has a New Album On The Way
Janka Nabay, Sierra Leone’s king of bubu music, and his band, the Bubu Gang, announced their new album ‘Build Music.’…
Hear Sampha’s New Song ‘(No One Knows Me) Like The Piano,’ Dedicated to His Sierra Leonean Mother
Sampha shares a new single from his highly-anticipated new album ‘Process.’…
The Freetown Tapes: A Mixtape From Sierra Leone’s Thumb Piano Master Sorie Kondi & Chief Boima
Chief Boima puts together a 10-year retrospective mixtape of Sorie Kondi’s career in ‘The Freetown Tapes 2006-2016.’…
Idris Elba’s Life Spirals Out of Control in Emotional ‘100 Streets’ Trailer
Watch Idris Elba in the new ‘100 Streets’ trailer.
Sampha’s Debut Album, ‘Process,’ Arrives in Early 2017
UK singer-songwriter Sampha Sesay shares details on his much-anticipated debut album, ‘Process’…
The Black British Experience Is a Dream & Nightmare in This Must-Watch Music Video From Brother Portrait
Sierra Leonean Black British artist Brother Portrait explores the duality of migrant identity in “Seeview/Rearview.”…