Music

Singeli is one of the most powerful musical movements to have emerged in East Africa in recent years. Born over ten years ago in Dar es Salaam, a sprawling capital city at the crossroads of Arab, Indian, and African histories and traditions, singeli stands at the confluence of cultures and generations. Like South African zulu house or Brazilian baile funk, singeli was born out of the absorption and subsequent transformation—even deconstruction—of vernacular music using cheap computer equipment. Between the shores of South African kwaito and Tanzanian hip-hop, singeli borrows from taarab—the traditional Tanzanian music of Zanzibar—as well as the highly electronic mchiriku and the ritual dance mdundiko. Speed it up, add some glitch effects, throw in an ultra-epic flow in Swahili, and you've got singeli. The genre first took hold in block parties in working-class neighborhoods on the outskirts of Dar Es Salaam, and in kigodoro, marathon parties named after the foam mattresses on which dancers collapsed from exhaustion. At weddings, too, singeli and its deluge of beats and machine-gun delivery have replaced traditional orchestras

Singeli is one of the most powerful musical movements to have emerged in East Africa in recent years. Born over ten years ago in Dar es Salaam, a sprawling capital city at the crossroads of Arab, Indian, and African histories and traditions, singeli stands at the confluence of cultures and generations. Like South African zulu house or Brazilian baile funk, singeli was born out of the absorption and subsequent transformation—even deconstruction—of vernacular music using cheap computer equipment. Between the shores of South African kwaito and Tanzanian hip-hop, singeli borrows from taarab—the traditional Tanzanian music of Zanzibar—as well as the highly electronic mchiriku and the ritual dance mdundiko. Speed it up, add some glitch effects, throw in an ultra-epic flow in Swahili, and you've got singeli. The genre first took hold in block parties in working-class neighborhoods on the outskirts of Dar Es Salaam, and in kigodoro, marathon parties named after the foam mattresses on which dancers collapsed from exhaustion. At weddings, too, singeli and its deluge of beats and machine-gun delivery have replaced traditional orchestras

Singeli is one of the most powerful musical movements to have emerged in East Africa in recent years. Born over ten years ago in Dar es Salaam, a sprawling capital city at the crossroads of Arab, Indian, and African histories and traditions, singeli stands at the confluence of cultures and generations. Like South African zulu house or Brazilian baile funk, singeli was born out of the absorption and subsequent transformation—even deconstruction—of vernacular music using cheap computer equipment. Between the shores of South African kwaito and Tanzanian hip-hop, singeli borrows from taarab—the traditional Tanzanian music of Zanzibar—as well as the highly electronic mchiriku and the ritual dance mdundiko. Speed it up, add some glitch effects, throw in an ultra-epic flow in Swahili, and you've got singeli. The genre first took hold in block parties in working-class neighborhoods on the outskirts of Dar Es Salaam, and in kigodoro, marathon parties named after the foam mattresses on which dancers collapsed from exhaustion. At weddings, too, singeli and its deluge of beats and machine-gun delivery have replaced traditional orchestras

Singeli is one of the most powerful musical movements to have emerged in East Africa in recent years. Born over ten years ago in Dar es Salaam, a sprawling capital city at the crossroads of Arab, Indian, and African histories and traditions, singeli stands at the confluence of cultures and generations. Like South African zulu house or Brazilian baile funk, singeli was born out of the absorption and subsequent transformation—even deconstruction—of vernacular music using cheap computer equipment. Between the shores of South African kwaito and Tanzanian hip-hop, singeli borrows from taarab—the traditional Tanzanian music of Zanzibar—as well as the highly electronic mchiriku and the ritual dance mdundiko. Speed it up, add some glitch effects, throw in an ultra-epic flow in Swahili, and you've got singeli. The genre first took hold in block parties in working-class neighborhoods on the outskirts of Dar Es Salaam, and in kigodoro, marathon parties named after the foam mattresses on which dancers collapsed from exhaustion. At weddings, too, singeli and its deluge of beats and machine-gun delivery have replaced traditional orchestras

Akiid Musiq, also known as Robot Boi, is a pioneering figure in South Africa’s underground electronic movement, rooted in Gqom but constantly pushing its boundaries with futuristic, high-energy sounds. Known for his raw dancefloor presence and unique sonic identity, Akiid has built a reputation for blending deep township rhythms with global club culture. Recently performing abroad, his sound has been crossing borders and turning heads internationally — and now he returns to the local scene, ready to ignite the festive season with an edge shaped by those global stages. Whether in intimate club spaces or on festival main stages, Robot Boi brings a futuristic intensity that locks crowds into his journey from the first drop to the closing beat.

Aniko is listed on AEMC. The profile owner can claim this page to add bio, links, and releases.

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Members : Constantly expanding, AFRO-LAB’s lineup consists of artists, trainers, educators, and community leaders. Genres : African heritage and rhythms, enriched with worldwide influences and modern electronic fusion. A project incubator and community center located five minutes from downtown Gulu, Elephante Commons is home to AFRO-LAB, a creative center and studio. “Our work extends beyond the studio and reaches out to the community with awareness and learning programs, particularly aimed at young audiences,” explains the incubator team. Formed as a local art collective, AFRO-LAB collaborates with young artists from northern Uganda: “The idea here is to use creativity as a lever for healing and empowerment. We believe in the power of music as a tool for resilience.” Positioned as an autonomous “African art laboratory,” this healing space brings together traditional culture, young creativity, and experimentation. It is no coincidence that for two years in a row, the venue has hosted the Nyege Warm-up in Gulu, an eagerly awaited annual pre-party organized entirely by the lab’s young students.

Members : Mask On, Seny D, Sidjey Genres : Rap Ivoire, Afro House, Bouyon, House, UK Bass, Amapiano, African golden era music (70s – 90s) From the old fathers of coupé-décalé to young biamasseurs, rap ivoire parties, maquis bars, and zouglou clubs… Abidjan’s nightlife continues to produce new boucantiers. The latest addition, Djaouli Entertainment, or Djaouli.Ent, has been rocking the city since spring 2022. “Djaouli,” from the Nouchi word for “a turbulent, excited, and energetic person,” oscillates between electronic escapades and African urban cultures: “We see our parties as artistic, social, and community events.” The goal? “To break down barriers between genres, mix audiences of Ivorians, expats, Lebanese, and Asians, break down social divisions, and promote young musical creativity.” United around hip-hop, Afro-dance, house, bouyon, and UK bass aesthetics, the collective has organized more than thirty free, daring parties rooted in African music, with one flagship event: the “Bôrô de Djaouli” parties. The music? “A field of exploration between genres, generations, and geographies!” Starting next year, Djaouli Ent. will launch into production with the release of a first EP of remixes, as well as releases with like-minded organizations, rumored to include Moonshine and Blanc Manioc. Stay tuned!

Members : Francesco Mbele, Ayema Qampi, Lenzo Mangonyane, Jakinda Boya, Lesedi Malete, Nokukhanya Gama Genres: Gqom, TechHouse, experimental electronic Joburg’s Ebumnandini was founded in 2018 in response to declining support for the local scene. As various venues and festivals closed down, the collective decided to revitalize Johannesburg’s underground offering with a bold and sophisticated lineup. Just two years after its creation, the team collaborated with Boiler Room. While Spotify Africa placed its trust in them in 2023, Ebumnandini set up shop last year at the heart of the lively Yardland festival in France. In 2025, the collective was in charge of programming Kaytranada’s After Party in Johannesburg. “Our sound fuses house, hip-hop, amapiano, techno, and gqom,” explain the members of Ebumnandini. “The idea is to constantly push the boundaries. At the heart of Ebumnandini is our community. A community of creatives, music lovers, and trendsetters representing all of South Africa. Beyond the dance floor, our events bring together people who value connection, self-expression, and cultural exploration.”

Members : Mathias Aklilu, Sam YF, Yohannes Meymun, Selamawit Genres : Pioneers of the house and techno scenes in Ethiopia Fabrika Records, an electronic music label and collective founded in 2021, is a truly pioneering platform in Addis Ababa: “We built an entire ecosystem from scratch,” explain its founders. “Our city has a rich and deeply rooted cultural heritage. But the infrastructure for electronic music is extremely limited, and there were only a handful of DJs here at the time.” “No suitable events, no mentoring, no collective identity. It was this lack that led us to create Fabrika. This challenge became our fuel,” say the members of Fabrika with a smile. In just a few years, the label has established a home for emerging DJs, producers, and all club culture activists here in Ethiopia. “The label structures the artists’ sound, our events provide them with stages, the community grows with them, and our advice and resources provide long-term support…” Masterfully led, it is an entire autonomous electronic biotope that is flourishing. Ultimately, Fabrika Records aims to put the Ethiopian electronic scene on the global bass music map with consistency and innovation. Recent collaborations with the interregional Gondwana festival in Kenya and the highly international Nyege festival are very promising signs!

In 1992, Enki Bilal invented chessboxing in his comic book Froid Équateur, a delightful alternation of boxing rounds and chess matches. South African audiophiles French For New are more into chessclubbing: when they’re not busy tearing up the Johannesburg nightlife scene—with more than seventy events under their belt—they organize chess tournaments. Founded nearly six years ago, the collective proclaims itself to be at the service of a “community of audiophiles, free-thinkers, creatives, and those who have decided to express themselves.” French For Now organizes parties under the banner of a beautiful fluidity of musical genres: “amapiano, house, gqom, and hip-hop, with a particular love for jazz,” say the members of the collective. “The success of our Soundset Sunday event has allowed us to develop other party concepts, such as the highly experimental and raw RARE or the Eclectic Sessions, dedicated to more immersive and sonic experiences.” And when the squares don’t light up under the feet of the girls and boys of Joburg, French For New moves the squares—black and white—of chessboards during well-deserved reflective sessions. Knowledge and dancefloor, a powerful and strategic combination.

Members : Aniko, Odunayo Eweniyi, Weareallchemicals, Yosa, Tomisin Akinwunmi Genres : Afro house, Mara, Cruise techno, disco In the African—and global—capital of Afrobeats, electronic music is thriving, and Group Therapy is at the forefront of this vibrant scene. Originally conceived as a bi-monthly rave, GT parties have completely reshaped the local nightlife scene: “From our very first event in August 2023, we wanted Group Therapy to be more than just a party,” recalls its founder, the astute strategist Aniko. “We wanted to make Group Therapy a platform for experimentation and musical expression, an inclusive, safe space for everyone, especially the queer community in Lagos.” The result? A year after its creation, the collective was already being celebrated by Face Magazine as one of the hottest collectives in the huge Nigerian city. “Our ultimate goal is to create a real pipeline that would allow Nigerian and West African talent to access international stages. We believe that the African electronic scene deserves to be highlighted and promoted internationally. And that’s what we’re building.” With more than 20 sold-out events to date, each attracting 3,500 to 4,000 enthusiasts, Group Therapy has expanded to Accra and London, while also winning over Boiler Room last year.

Founded in 2024 as a series of confidential, intimate raves, Ilé Ijó—literally, the “home of dance”—has become, in just two years, a platform that is reinventing a section of the electronic scene in Nigeria: “The Ilé Ijó experience really started small,” recalls Abiodun Oladokun, founder and artistic director of the collective. “Initially, we would bring together House fans every two months in Lagos. Soon, our desire to experiment took us into many other areas of electronic music.” After nearly a dozen events, the collective has become a reference point for Nigeria's junglettes and junglists, with the creation of the Drum N Bass NG community, a subsidiary entirely dedicated to the genre. On its first anniversary, Ilé Ijó also tried its hand at Tanzanian Singeli by inviting Jay Mitta, a well-known supporter of the Nyege Nyege collective. Focused on research and experimentation, the Lagos team is now building a real scene, capable of inviting other international movements for a night, while working closely with the local electronic culture through the prism of the Yoruba language, culture, and heritage. With a thousand enthusiasts gathering at each of its parties, Ilé Ijó is now one of the major players in Lagos' electronic nightlife.

Members : Dj Aziz, Big Sam, Pweza, Alyssa et Barak. Genres : Tech house, deep house, drum n bass, Afro-house and Afro-tech “Our goal? To build a safe and inclusive community where everyone can have fun and express themselves through music, without borders or discrimination!” A long-term program initiated two years ago by DJ Aziz, Big Sam, and Pweza, who, driven by their love of electronic music, set up the Midimu collective. The name was inherited from the Makonde people and means “masked dancers”: “This name honors the collective’s cultural heritage and symbolizes the transformative and community-building power of music.” The vibrant collective has organized numerous events in Tanzania and in 2023 launched the first edition of its festival, Midi Fest: “We had ten participants in 2023, compared to two hundred in 2024,” say the organizers. Here, the leitmotif is focused on a single goal: “to develop the Tanzanian music scene, promote and raise awareness of different electronic genres, in particular Afro-house and Afro-tech.” In a local scene that is still largely in its infancy, the Midimu collective is on a mission: “to engage the Tanzanian public in techno, house and beyond!”

Members : Pierre Kwenders, Hervé “Moonshine” Kalongo, Félix Brochier, Steven Michel, San Farafina, Vanyfox, DJ P2N, Negoo, Niabi Genres: Afro-futurism, bass-heavy and electro-funk “SMS for Location”: those who opened their messaging apps based on this promise know what to expect: a night that’s left of center and, above all, free. More than 150 events—including performances at Primavera, Eurocks, and Dour—and nearly 200 releases, including the acclaimed José Louis and the Paradox of Love by the lively Pierre Kwenders… In just over a decade, Moonshine has moved from its Canadian roots to the international stage, at the forefront of a highly sensory, instinctive, and demanding party scene: “Moonshine’s DNA was born from the parties we used to throw in our kitchens,” recalls Pierre Kwenders. “We couldn’t find that atmosphere at other parties. That’s one of the reasons Moonshine was born, with the aim of sharing that energy with those who, like us, were looking for that kind of sound and vibe.” For these musicians, DJs, dancers, and visual artists, the common thread running through Moonshine is its ability to bring together an audience driven by an inclusive ethic and a shared love of sonic and sensory experimentation. “From African and Afro-diasporic clubbing, we have evolved over the past decade into a multidisciplinary nightlife movement, capable of embracing video, fashion, and music in the same movement,” say the members of the collective in unison. Instinctive, raw, and designed for liberated dancefloors: after an intense period of creative exploration across East Africa, Moonshine unveiled the sixth installment of his now cult SMS for Location series in spring 2025, “an album that transcends musical and cultural boundaries.”

Members : Producers, DJs, educators, mentors, sound engineers, technical specialists… Santuri functions as a platform, an open ecosystem focused on the community, rather than a closed collective. Genres : Education, electro, Hackerspace and Makers Lab “Our vision? To build a sustainable, interconnected, and globally recognized East African music ecosystem.” Founded in 2014 and based in Nairobi, Santuri is one of the most dynamic Hackerspace and Culture Makers platforms in East Africa. A true incubator, the project aims to strengthen the creative industries at the regional level by supporting artists through training, skill development, mentoring, and access to technology: “We believe in community-based forms of innovation, we believe in the power of music to transform spaces and narratives.” In February 2026, the Lab will organize the third edition of the Kilele Festival: “a melting pot of music, tech, innovation, and experimentation, organized around workshops, panels, conferences, and installations,” explains the team of Kenyan changemakers. In addition to its annual summit, Santuri hosts the Santuri Electronic Music Academy (SEMA), dedicated to teaching music production and DJing: “the sound aesthetics we champion oscillate between African electronic music, traditional heritage, and more hybrid experimental forms. The community, which covers East Africa and the diaspora across the continent, is the foundation of our work.”

Members : Abbas Alli Jazza, Sisso, Maiko, Jaymita, Dj Bamba Pana, Queen Asher, Dj Travella, Makaveli, Rehema Tajiri, Kadilida, Kzungu, Hemedi Kiduku, Nana et Zai Genres : Singeli and its multiple variations Singeli is one of the most powerful musical movements to have emerged in East Africa in recent years. Born over ten years ago in Dar es Salaam, a sprawling capital city at the crossroads of Arab, Indian, and African histories and traditions, singeli stands at the confluence of cultures and generations. Like South African zulu house or Brazilian baile funk, singeli was born out of the absorption and subsequent transformation—even deconstruction—of vernacular music using cheap computer equipment. Between the shores of South African kwaito and Tanzanian hip-hop, singeli borrows from taarab—the traditional Tanzanian music of Zanzibar—as well as the highly electronic mchiriku and the ritual dance mdundiko. Speed it up, add some glitch effects, throw in an ultra-epic flow in Swahili, and you’ve got singeli. The genre first took hold in block parties in working-class neighborhoods on the outskirts of Dar Es Salaam, and in kigodoro, marathon parties named after the foam mattresses on which dancers collapsed from exhaustion. At weddings, too, singeli and its deluge of beats and machine-gun delivery have replaced traditional orchestras The genre is largely represented in Tanzania—and now far beyond—by Singeli Movement: “Since the collective was founded in 2017, we have been flying the flag for Singeli,” explain the members of the group. “We give artists access to learning opportunities and collaborations with international musicians. This support has enabled the group to tour at major festivals, notably in Europe and America. Workshops, training sessions, and competitions have also allowed us to create a solid network of cooperation abroad. A true local talent scout, Singeli Movement sources emerging local artists, thereby contributing to “the development of the electronic scene in Tanzania.”

Members : Nana Danso, Frank (Muud Swingz) Osei, Emmanuel Kunfaa, Yaw Asante, Edwin Dzobo, Frank Annan, Nyahan Takyi Genres : Afro-house, afro-tech, asorkpor, gqom, kuduro or tribal-house. Ekiti Sound, Moneyama, ASAAS? Since its creation in 2017, The Weird Cult has played a pivotal role in Accra's nightlife: "By blending electronic music, visual storytelling, and performance, we have managed to introduce a whole new standard of immersive experiences to the city's parties," enthuse the members of the collective. At the heart of The Weird Cult is "pulsating electronic music, inspired and influenced by Black culture." Afro-house, afro-tech, asorkpor, gqom, kuduro, tribal-house? "Our sound is rooted in a mix of African electronic rhythms, blended with heavy bass and contemporary sounds from the global alternative clubbing scene." The collective expresses its identity through numerous concepts: "Black Sheep Rave," "No Request," and "All Black & Skin" parties, an experimental rave dedicated to B2B DJ sets? "The Weird Cult is a total artistic movement, a community that builds spaces where dreamers and outsiders come together to experiment, connect, and evolve." Ultimately, it is the entire Accra scene that is being revitalized: "We are nurturing a new creative wave here in Ghana. A raw, inclusive, and experimental creativity that contributes to the influence of the vast West African alternative ecosystem."

Members : Nadia Kamasa, Binghi, Bruno Gouteux, Manzi Mbaya, Natacha Muziramakenga Genre : A structured, multi-activity platform that addresses gender-based violence through art, advocacy, education, and healing. Founded on October 4, 2024, in Kigali, the aptly named Unmute is a Rwandan initiative that engages cultural operators, institutions, government organizations, and the general public to take a stand against rape culture: “Our goal is clear,” explains Natacha Muziramakenga, co-founder of the platform: “Art has the power to heal, provoke reflection, and inspire action. We want Unmute to highlight the urgency of demanding accountability. It is no longer enough to be silent witnesses; we must become actors committed to dismantling rape culture. Why do we accept that women’s safety is a secondary concern? Why do we tolerate a narrative that silences the voices of victims?” Within the collective, members “stand up against the normalization of violence. Respect, consent, and safety are not just ideals; the collective works to create an environment where they are a reality. We call on our leaders, our communities, and each of you, artists and advocates alike, to join us in this fight. Let us be catalysts for change, not only through our words, but also through our actions.“ Podcasts, prevention campaigns, conferences, annual festivals, and the creation of safe spaces for survivors are just some of the tools that Unmute Triple A (Artists Against Abuse) will use to fight abuse, both in Rwanda and internationally: “Let’s turn our outrage into action, our pain into power.”