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Keti Koti Block Party On Saturday 27 June, Marimba invites SlapFunk for Keti Koti in Westerpark.Two communities, two musical worlds, coming together through shared history, sound and movement. Rooted in Afro-diasporic culture, this block party blends genres and generations in the spirit of Keti Koti. A day shaped by connection, collaboration and collective energy. Marimba and SlapFunk come together in Westerpark for a free Keti Koti Block Party rooted in remembrance, celebration and community.

Knife, Fork, Spoon 3.0, on view June 10–12 in Copenhagen, with works by a number of talented artists, designers, and architects.Curated by Dung Ngo and presented by Marta Los Angeles, the project exhibits twelve contemporary flatware designs, realised in stainless steel, produced via 3D-printing, and given form by some of today’s leading artists, designers and architects: Rafael de Cárdenas, Charlap-Hyman & Herrero, Johnston Marklee, Misha Kahn, Minjae Kim, Greg Lynn, Nifemi Marcus-Bello, Jolie Ngo, Jacqueline Rabun, Marcin Rusak, Solid Objectives Idenburg Liu (SO–IL), and David Wiseman.Presented for the first time at ARK Journal’s Design / Dialogue’s exhibition as part of 3 Days of Design, Knife, Fork, Spoon 3.0 reminds us that cutlery is an intimate part of daily life: a universal touchpoint that transcends culture and generations. This project aims to explore formal possibilities enabled by additive manufacturing and to articulate contemporary cultural perspectives on dining and materiality.

Join Our Community Ride! We’re kicking off the Patta Cycling Team’s community rides, and we want YOU to be part of it! We’ve got 10 spots open for riders who want to roll with us. If you have a well-functioning road bike, a helmet, and can join us for at least 30-50km of riding starting from Amsterdam, slide into our DMs to apply!Date: June 9thPace: ~27 km/hSpots: Only 10 available!Don’t miss out on this chance to ride, connect, and have fun. See you on the road!

An in-store live performance, Q&A, album signing and community event featuring East London singer-songwriter and cultural custodian Murkage Dave. Following the release of his third album, Brut Thoughts which features collaborations with Cinnaman, Yard Act, Young Fathers and Lauren Auder. Dave also hosts The Outlet, his residency on Refuge Worldwide, where he shares a mix of influences alongside unreleased music from friends and collaborators. The event will highlight his introspective, genre-defying sound that blends pop, indie, and soulful storytelling. Expect an honest exploration of community, urban survival, and personal vulnerability. Free entry and first-come, first-served, so bring yourself and bring your crew. Dave began making music while studying in Manchester, releasing tracks including 'Hands On Her', which was remixed by Sunship and featured on a DJ EZ compilation. During this period, he also founded the influential weekly club night Monday Murkage, which evolved into Murkage Cartel. After returning to London in 2016, Dave formed HALFBROTHER with producer and singer SCALLY, before releasing his debut EP D.A.V.E. Its standout track, 'Car Bomb', received support from Pharrell Williams and Young Fathers. Around the same time, he partnered with Mike Skinner of The Streets to launch the club night TONGA.His acclaimed debut album, Murkage Dave Changed My Life, featured Manga Saint Hilare and Jaykae, with productions from Skepta and Star Slinger. The album earned praise for its vulnerability and distinctive sound, leading to shows with The Streets, Peace and Tricky. Following the Keep Up The Bad Work tour, Dave reunited with Manga Saint Hilare for the surprise collaborative project We Need To Look After Us. His second album, The City Needs A Hero, debuted at No. 10 on the UK iTunes Chart and earning further critical acclaim. The campaign was led by the double A-side single 'Please Don't Move To London It's A Trap' / 'Awful Things', featuring Caroline Polachek.

Dutch-Surinamese Imani Imani released a surprise album today named 'Papercut'.Her 11-track debut album was released under the music label pgLang, where she joins the roster of co-founder Kendrick Lamar, Baby Keem, and Tanna Leone. Her first music video for the soft and introspective track "Mindgames" is out now. Imani Imani is wearing the Patta Track Jacket in the video. Find new Patta tracksuit releases here.  

As Afrobeats continues its global rise, Dope Caesar is emerging as one of the most exciting DJs shaping its sound and culture, but her success didn’t happen overnight. Long before the viral transitions, international bookings and sold-out shows, there were years spent studying other DJs, practising endlessly at home, learning technical precision at Vibes DJ Academy, and grinding through weekly club residencies in Lagos, one of the most demanding nightlife scenes in the world.For nearly a decade, Dope Caesar has been refining her craft in real time: playing four-night-a-week residencies, learning how to read impatient Lagos crowds, testing risky transitions live in clubs, and developing the instinct required to control a room rather than simply play songs. The viral moments people see online today are often ideas she’s been quietly sitting on for years, waiting for the right crowd and the right moment to finally understand them.Get familiar as Dope Caesar reflects on the unseen hours behind her rise, the discipline required to survive Lagos nightlife, balancing technical skill with crowd control, and why boldness matters more than perfection. As she prepares for a new chapter of global touring, she speaks on staying grounded, navigating a male-dominated industry, and understanding that true success is built long before the world starts paying attention.Recently, you’ve really broken through online. Your sets are going viral and your name is travelling globally. Does it feel like you’re in your “I’ve made it” era now, or do you still feel like you’re just getting started?Well, it’s in between. I approach life from the perspective that you don’t really know how far you’ve come until the journey has ended. Someone else is going to write that story eventually. I don’t even know myself yet. So I feel like I’ve made it because obviously I’ve grown, but at the same time I’m also just getting started because I don’t know where the story ends. It sits somewhere between those two things.And you’ve been doing this for almost a decade now, right?Nine years.Congratulations. Maybe we can go back to the beginning a little bit. What did those early days at Vibes DJ Academy look like for you?Honestly, those days felt like, “Do you even know what you’re doing?” — but you kind of do. I was already DJing before I got there, but I didn’t fully know whether I was doing things correctly. Going to Vibes DJ Academy validated everything I had taught myself through research and practice.But then another challenge came up: how do you present technical skill in a way that regular people can connect to? Because people can easily box you in as “a DJ’s DJ” or someone who should just do competitions, but that doesn’t always work on a dance floor. So it became about translating technical ability into something people can actually feel in a party environment.So it was a transition from technical skill into learning how to control a room?Exactly.What was it about the academy environment that created that shift?The tutors. They had very technical DJs there, like DJ Massive and DJ Consequence, who are some of the best party DJs in Nigeria. So you had both worlds in one space: technical precision and crowd control. You could learn different things from each person and merge them into your own style.Lagos nightlife is famously intense and competitive. Did growing within that environment shape your identity as a DJ?Definitely. The real leap happened in 2022 when I started working in a club. That became my platform to really show myself. But Lagos crowds are already used to certain things. You can’t just come in and say, “This is what I do now.”So it forced me to think differently. You can do all the hard technical stuff, but how do you make simple things exciting? Nigerians are impatient — everything has to hit immediately. Timing matters. Precision matters. Lagos keeps you on your toes constantly.Were you performing for yourself at that stage, or for the crowd?At first, definitely for the club. But I also have to put myself into it because that’s why I DJ. I have a piece of myself to give people. If I remove myself completely, then something is missing. But DJing is still for the dance floor too. You can’t make it entirely about yourself. It’s about balance.How did you first enter the Lagos nightlife scene?It’s actually the craziest story. I got a random WhatsApp message from someone saying he wanted to open a club and believed in me. I genuinely thought it was a scam because I wasn’t popular at all. But it turned out to be real.The funniest part is that at the time, I had barely even been to clubs myself. I’d probably only gone out three times in my life. But I still said yes. Then I started calling my DJ friends asking what songs they played. I studied other DJs constantly, recorded sets, watched how they controlled rooms, and practiced from there.And what did that residency look like?Four nights a week. Full-time job energy.And now you’re resident at two places, right?Yeah, now I’m a resident at Mr Panther and Guest List every Saturday. The sound, the drinks, the people - everything is amazing there and it’s for the few only, you just have to be there!One thing people really associate with you now is transitions. Your sets feel very fluid and unexpected. How do you approach building them?Chaotically, honestly. Ideas just come to me and I test them out. But over time I’ve developed rules for myself: musicality, timing, key, energy. A lot of my transitions are personal challenges. Sometimes I’m literally trying things just to prove to myself that I can do them. Transitions are risky. When they work, it’s incredible. When they fail, it’s disastrous. But I enjoy that risk.Do you test those ideas beforehand or live in the club?It depends on the crowd and the environment. You have to earn certain moments. Some transitions I’ve had for years and never played because the environment wasn’t right yet. That viral transition everyone knows? I’d already been doing it long before people saw it online. It just finally reached the right audience at the right moment.What separates a DJ who simply plays songs from someone who actually controls a room?Being bold. I don’t even think DJing itself is my talent. I know how much work it took to learn. The difference is being willing to take risks. If you take risks, you gain power over the room. You can’t play safe forever. No single moment defines you anyway. You learn from the good moments and the bad ones.Your career is becoming increasingly global now. How has that changed your life?It’s crazy because I’ve been to countries where I genuinely wonder how people even know me there. But at the same time, my life is still normal. I still play with kids in my neighbourhood. It’s not that deep to me. What I appreciate most is experiencing different cultures while sharing mine too. It’s very symbiotic.You’re about to head out on a European tour as well. What excites you most about that?The challenge. Europe is so multicultural. My Amsterdam show at Melkweg had the most diverse crowd I’ve ever seen. That really challenged me because you can’t rely only on what works in Lagos anymore. You have to understand different cultures and figure things out in real time. That excites me.What’s the difference between Dope Caesar online and Dope Caesar in real life?I honestly don’t know how people perceive me online. I think people assume I’m mysterious because I wear glasses and don’t speak too much. But I’m actually very playful. Everybody around me knows I joke constantly. I’m very minimal in how I dress and move, and I think people build a perception around that. But I’m not trying to create some fake persona. I’m just myself.Your image has become very recognisable too — the shaved head, the minimal styling. How did that become part of your identity?It happened naturally. I used to grow my hair before, but during a certain period in my life I kept telling my friends I wanted to shave it off. Everyone said I’d never actually do it. Then one day I looked in the mirror and decided to do it. My sister shaved it off for me. Some people loved it, some people hated it, but I liked it, so I kept it. I never planned for it to become part of my identity. Same with the way I dress. I like comfortable clothes and sneakers. I’m not overly fashion-focused. It just became associated with me naturally.Are original productions the next step for you musically?Yeah, definitely. I want to explore it and see where it takes me creatively.The DJ space — especially in Nigeria — has historically been very male-dominated. What has your experience been like as a woman entering that space?The ecosystem has changed a lot. More women are entering DJ culture now and I love seeing it.I always tell female DJs: just do you. People are going to talk regardless. Come with your nails done. Come feminine. Come however you want and still destroy the set. DJing isn’t about physical strength. It’s mental. It’s rhythm. It’s energy. And honestly, for a long time — controversial or not — the best DJ in Nigeria was DJ Switch. But because the industry was so male-dominated, she didn’t always receive the visibility she deserved. Now things are changing. Female DJs are finally part of the main conversation.What advice would you give to young women trying to enter that world now?Practice. Practice. Practice. Stay humble. Virality is not professionalism. When hype disappears, skill is what remains. So you need to actually know what you’re doing. And don’t just follow trends because they worked for someone else. Know yourself first. Beyoncé still rehearses constantly, so what excuse does anyone else really have?Before we wrap, what’s one song that always works in the club?“All I Do Is Win.” Every single time. People complain online about DJs always playing it, but the second it comes on, everybody’s hands go up. It’s hilarious. So that makes it funny. So that’s a track that always works multiculturally, but personally? “Ozeba” by Rema. Anytime I hear that song, I lose my mind.Dope Caeser will be back in Amsterdam on Friday, June 5th at Club Noir, tickets are almost sold out, so head over to their website to get your hands on them now or follow her on socials to find out whereelse she will be in Europe. 

Practitioner, educator, DJ, and researcher, Femke Dekker (also known as Loma Doom) has long been immersed in both sound and education. Across lecture halls, archives, festivals, art galleries, independent radio stations, and dance floors, she orbits a central question: What if listening itself were an artistic practice? What might unfold when listening becomes method, medium, and material?Open Field Listening takes shape around these ideas. Presented as a collaboration between Page Not Found—an artist-run platform dedicated to publishing and experimental practices—and the record label Osàre! Editions, the text originates from Dekker’s graduation thesis for the Master Education in Arts at the Piet Zwart Institute, Rotterdam. There, she honed her skills as a pedagogue, inviting students into improvisational jam sessions, radio-making, and exercises that activate new modes of attention and a heightened sense of sonic curiosity.Drawing on the work of scholars and artists—most notably Pauline Oliveros—Dekker approaches listening as a call to action: a way of tuning into one’s surroundings, one’s body, and the urgencies that contour our political and social worlds. She emphasizes the radical potential of reorienting knowledge toward collective attunement: the we rather than the I (or the eye). Inspired by Oliveros’s concept of Deep Listening—a way of expanding awareness through focused, embodied perception—Dekker acknowledges the composer as a foundational feminist figure whose insights continue to reverberate through the classroom, the studio, and beyond.

Words by Passion DzengaWith the release of his debut album Never Thought I Could (Part 1), South African singer-songwriter Lloyiso is starting to tell his own story. Before sold-out European shows and collaborations with global artists, Lloyiso was teaching himself production in his mother’s house, busking to get by, and building his career from the ground up. That journey from independence to international recognition sits at the heart of Never Thought I Could (Part 1). Lloyiso touches on building his own team from scratch, the struggles behind releasing the album, and why independence gave him the confidence to trust his instincts. He also reflects on self-belief, burnout, and what it means to finally feel seen by audiences around the world.You’ve recently released Never Thought I Could (Part 1), how does this moment feel for you,  and when you listen back to the album now, what emotions come up?Man, it feels like a weight has been lifted off my shoulders. I’ve been making this album for a couple of years now, and it’s been a tough time putting it out because some people don’t believe in it. There was a sound that was envisioned for me, but I created my own identity. This identity is truly who I am inside, and I’m just happy that I get to put it out into the world. It sounds like it was quite an uphill battle to get this record together. Why was now the right time to release your debut album?I had to build my own team. I had to build it from scratch. I had to find the people to stand up for what’s right, stand up for artist rights, stand up for real, authentic, raw talent, and not just follow the trends.I needed to find a group of people who are fearlessly unapologetic about expressing themselves in this music industry. So I started from the beginning. I found a label partner, EMPIRE. I put together my management team from all over the world. Everyone I work with is international, which was quite exciting, putting the team together that I have right now. We keep on growing and growing. The Lloyiso “empire”, if you get it, you get it. It’s expanding and becoming like a global partnership, a global-citizen type of thing. I needed to be comfortable in the team that I have to be able to put out this music.You’ve come from busking to self-producing, and now you’re working with major teams globally. Can you talk about that transition and what changed internally for you?It’s been a slow journey. Frustrating at times, because I always knew that I was destined to be on stage and hopefully not having to worry about carrying my own speakers, mixing my own voice, engineering, doing my own sound and managing myself.So I always knew that I needed to do that first before I could get into this place. And I’ve had to be tough. People speak about how dreams can make you harder than you want to be and I’ve had to be harder sometimes. As soft as I can be, I can also be a beast and those moments had to come out.I had to fight for myself. I had to feed myself. Moving out from home, living in a different city - I moved eight hours away from home to Johannesburg, and I basically paid for everything and lived by myself when I was 18 years old. So I’ve had to make those sacrifices of struggle to be able to tell the story. And I think it all comes together. The music is the story and it is the journey of what I was born to do. I had to go through that. I think if I had it easy, I would not have this much insight and depth and understanding of what it is to live for something.It feels like you prioritised independence before collaboration, can you tell us what did that independence give you that traditional systems don’t?It gave me confidence, man. It gave me the confidence that I don’t need anybody. I was doing numbers on YouTube before I got signed. I was basically Lloyiso before the other “L” was taken away. There was something that was trying to be taken away, but I never gave it. I never gave away that control. Never sold my soul. Now they talk about it in the music industry - “don’t sell your soul.” I haven’t sold my soul. I’m not going to sell my soul.I’ve had to be relentless in it. I’ve always fought for what I believe is right. Maybe it’s how I was raised, but being independent is something I’ve always done. I did everything by myself growing up. I walked to school, figured out transport and figured out how to get stationery or a uniform. I was always that kid who wanted better for myself. If I wanted to go to a new school, I’d find a way to get in so it’s always been in me to be independent.You taught yourself how to produce, what is it like being self-taught and what are the challenges that come with that?So I started producing on FL Studio. I played piano when I was like 12 years old, so that made it easier. I wanted a sound that was tailored to me. I felt like I was the only one who understood how my voice should sit in a song. I used to get frustrated going into the studio and producers would cancel on the day, in the morning. I was like, you know what - I’m tired of waiting for these guys. I’m tired of waiting for this moment. So I’m going to go get this moment.I took my mom’s old laptop, I figured it out, and I bought a mic. I plugged it into my old keyboard that I got when I was 12, and I started making music. It got better and better. Ever since then, I’ve been making my own music. That’s where it starts - at home. This album started at home, in my mom’s house, before it got out into the world, before LA. That production needed to happen for me to be fully comfortable in saying the things that I say and singing the way that I do.There’s a cinematic quality to your music. Can you talk about the sonic world you built on this album?It was definitely inspired by growing up listening to pop music – Sam Smith, Westlife, Jennifer Hudson, Beyoncé, Labrinth, Emily Sandé. I also drew inspiration from musicals like Camp Rock and High School Musical. I’m a ’99 baby, so I grew up on that. And gospel too. On this album, I put all of that together with a big inspiration - Kanye West. If you listen closely, you’ll hear it.When I started making the album, he had just put out his documentary, and I was like, you know what – I’m going to figure this out myself. I was inspired by that sound.What’s your process when starting a song? Is it melody, lyrics, or feeling first?It’s always a feeling. I let the feeling drive me. I don’t go into the studio unless I’m feeling really inspired or I have an idea. I’m a quality guy, not quantity. I don’t need to make a thousand songs to find the best one. The best ones come when you’re most inspired.And inspiration comes from life – being present, being outside, not always fixating on music. Watching sports, running when I can. It’s definitely from experiences.Is taking that space part of how you avoid burnout?Yeah, I could definitely be avoiding burnout without even knowing. Right now, I haven’t been in a making music space because I’ve got so much music waiting to come out. Part two is coming out! These songs have been sitting for two to three years, and I haven’t been in the studio since finishing them.Now I’m starting to think about what the next sound is going to be. I’m excited to explore, travel the world, and see where my voice sits best.Can you talk about your collaborations with artists like Martin Garrix and Clean Bandit?It started with me being inspired by their music. I messaged Martin Garrix back in 2016, saying I wanted to work with him. He didn’t see it at the time. Later, after my voice got shared around, he reached out and said he couldn’t believe he missed it. Same with Clean Bandit - I met them in South Africa, got into a writing room, started singing, and they went crazy.We were sending music back and forth across time zones, building the track in real time. It was meant to be. And I think my sound naturally fits within that time zone and space.Your European tour sold out. What was that experience like?Man, it was crazy. We sold out London, Amsterdam. Amsterdam was my favourite show. I didn’t expect people to come out like that. I thought I didn’t have a fanbase there. But it was incredible. I can’t wait to come back.You spent time running in Amsterdam with the community. What did that moment mean to you?It was incredible. I almost cried. To think about where I come from and what it took to get here, and to have a community that trusts me - it made me emotional. I felt seen. And that’s been a theme in my life - not always feeling appreciated or valued. So when that appreciation comes, it feels like finally someone gets it. It was beautiful to experience that.If you finish the sentence “I never thought I could…”, what would you say now?I never thought I could have more self-belief than I did before. I thought it was a phase, but I’ve been able to carry it through. I’ve been consistently appreciating myself and showing up for myself. I’ve realised I can do this. I’m capable of maintaining myself and being kind to myself.Do you still have fears?We’ll have to find out in part two. The story continues. It’s a rollercoaster. Part two will give more insight into what it feels like to be me - or what it might feel like for you too.Was this always planned as a two-part project?Yeah, it was always meant to be connected but not released at the same time. The title came later. After going through all the struggles and finally getting the green light to release the music, I realised - I never thought I could. I remember when I heard the news, I cried for like three days.Is faith important to you?I believe in the universe. I believe there’s something that connects us and gives purpose to everyone’s life.What advice would you give young creatives trying to stay consistent?For me, it was covers. But for someone else, it’s whatever your thing is. You can’t really put it into words. I wouldn’t want to tell someone how to be a superstar. Everyone becomes one in their own way. Trust your intuition. Your first idea is usually 95% right. The world speaks – you just need to listen.Listen to Lloyiso’s new album Never Thought I Could (Part 1) here. 

Homelanding’s second stage, Café Homeland, presents a five-day program featuring takeovers by well-known Amsterdam collectives. In this café, the collectives are given the freedom to curate and create an entirely unique program of their own.Get lost all evening among hip-hop DJs, punk bands, communal dinners, karaoke machines, and ping-pong tournaments. A true celebration of our city, its creators, and the diverse communities that shape us. On Sunday, July 5th, Patta Soundsystem will take over the evening program at Marineterrein, Amsterdam with free admission.

Oscar #worldpeace returns with visuals for “Chessboard Freestyle” a sharp, cinematic cut from one of the UK’s most distinctive creative voices. A long-time collaborator of Mike Skinner, Ragz Originale and benji flow, Oscar brings the same raw intimacy and off-centre storytelling that’s made his visual language instantly recognisable across the underground and beyond.“Chessboard Freestyle” moves like a late-night thought spiral: calculated, restless and unpredictable. Every frame feels intentional; balancing tension, stillness and instinct with the precision of a player always thinking three moves ahead.