The film will be written, directed, and produced by French filmmaker Maïmouna Doucouré, best known for her acclaimed 2020 film Cuties. Doucouré has reportedly been attached to the project since 2022, and the movie is now moving forward with backing from Studiocanal. Production is expected to begin in autumn 2026, with filming scheduled for the fall. 

The biopic has also been developed with the cooperation of Baker’s surviving sons, Jean-Claude and Brian Bouillon Baker, giving the project an added layer of authenticity and family approval. 

Twigs, whose real name is Tahliah Barnett, said she was “honoured” to take on the role, calling Baker’s legacy “such an inspiration” and describing her as a “visionary, ground-breaking woman whose story is as powerful as it is relevant today.” She added that she cannot wait to bring Baker’s “fight, love, losses, talent and heroism” to the big screen. 

Doucouré has said she wants the film to go beyond the glamorous public image of Baker and explore her contradictions, emotional wounds, courage, and relentless fight for dignity and equality. That means audiences can expect a deeper portrait of Baker, not just her rise as a Jazz Age icon in 1920s Paris, but also her work in the French Resistance during World War II and her activism during the American Civil Rights Movement. 

The project also seems to confirm that the previously announced A24 television series about Baker starring Janelle Monáeis no longer moving forward. That series was announced in 2022 but never materialized. 

Online reaction has been mixed but highly engaged. Some fans on Reddit have praised the casting, calling Twigs “perfect” and “Oscar nomination worthy,” while others questioned whether she has the acting range for such a demanding lead role, with some suggesting names like Ruth Negga or Janelle Monáe instead. 

Still, with Twigs’ dance background, striking screen presence, and Baker’s own legacy of reinvention and fearless artistry, this could become one of the most talked-about music biopics of the next few years.

The post Everything We Know About FKA twigs’ Josephine Baker Biopic appeared first on KIMU.

When FKA twigs began subtly changing the EUSEXUA Afterglow artwork across streaming platforms, fans immediately noticed. What first appeared as a standard cover rollout soon evolved into a living, shifting visual narrative – perfectly in tune with twigs’ reputation for blending art, identity, and transformation.

A Living Album Era

EUSEXUA Afterglow, due out on November 14, 2025, via Young/Atlantic, was initially conceived as a deluxe edition of January’s EUSEXUA, but has since become a standalone project. Twigs described it as “a visceral waterfall, as you leave the rave in search of your next wonder… give her your consent to kiss, splash and caress your naked skin.”

Her words evoke a fluid continuation rather than a repetition: the afterglow of ecstasy, the pulse that lingers once the chaos has dissolved. The changing artwork reflects that same concept – shifting, glowing, and evolving, just as the emotional world of the record does.

The Evolution of the Cover

Fans on Reddit were among the first to point out that multiple Afterglow covers had begun appearing online. This could have been a reaction to fans’ initial thoughts, craving a more Jesse Kanda vibe like her previous work, or simply a natural evolution to showcase artistry in the digital age reflecting a more “cunty” alien elf vibe.

This fluid approach to presentation feels deliberate. Twigs has long treated visuals not as fixed promotional assets but as extensions of the music itself – something alive, capable of changing form. The “Afterglow” imagery seems to embody that sense of renewal: a visual echo of transformation, vulnerability, and release.

Symbolism and the Body

Twigs’ minimal styling – bald head, bare shoulders, lavender tones – signals intimacy and surrender. In contrast to the high-gloss sensuality of EUSEXUA, the Afterglow artwork feels grounded and human. It captures the space between exhaustion and peace, the moment after intensity when only truth remains.

In her description of the project, twigs uses tactile language: “kiss,” “splash,” “caress.” The body is central – but not objectified. It’s portrayed as a site of emotional alchemy, where pleasure, exhaustion, and self-awareness coexist.

Fans React to the Changes

Online, fans have embraced the evolving visuals as part of the EUSEXUA universe. Comments range from fascination to speculation:

“It’s like the artwork is breathing,” one user wrote. “Each update feels like a new phase of the same emotion.”

Another added:

“If EUSEXUA was the high, Afterglow is the meditation that follows.”

Twigs’ ability to invite this kind of dialogue – through both sound and image – cements her as one of the few artists treating the album era as a multimedia experience rather than a static release cycle.

Beyond the Glow

The changing Afterglow artwork does more than refresh a visual. It mirrors the themes that run through twigs’ work: transformation, self-reclamation, and the poetry of impermanence. In a digital age where streaming covers are often forgotten, twigs reminds us that an image can still have a heartbeat.

As the release date approaches, one thing is certain: EUSEXUA Afterglow will not be confined to one version, one feeling, or one face. Like the music itself, it will keep shifting – chasing light, reflecting shadow, and glowing long after the party ends.

The post FKA twigs: Documenting the Evolution of the EUSEXUA Afterglow Artwork appeared first on KIMU.

FKA twigs’ latest music video for Childlike Things has ignited a cultural conversation that extends far beyond its dazzling visuals and avant-garde aesthetic. At the heart of the controversy is North West, the 11-year-old daughter of Kim Kardashian and Kanye West, whose cameo has sparked a storm of debate about artistic expression, childhood agency, and the relentless tug-of-war between celebrity co-parents.

The video, crafted by the boundary-pushing twigs and playwright Jeremy O. Harris, presents a meta-narrative about creative integrity versus industry demands. FKA twigs, playing an artist fighting to preserve her vision, faces off against a skeptical label executive played by Kevin Smith. North West’s unexpected appearance – rapping in Japanese – becomes the pivotal moment that sways the executive’s opinion, suggesting that the authenticity of the next generation may be the answer to the industry’s age-old struggles.

The Cultural Shockwave: Talent or Tokenism?

North’s inclusion in the video was immediately polarizing. Some hailed her linguistic feat as impressive, while others saw it as a gimmick engineered for viral impact. The fact that North, at such a young age, is already entrenched in high-profile artistic collaborations raises important ethical questions:

• Is this a case of a prodigious child being given opportunities to explore her artistry?
• Or is it an example of a young girl being absorbed into the celebrity machine before she can fully understand what she’s signing up for?

In an era where TikTok and Instagram have turned childhood into a monetized spectacle, North’s presence in Childlike Things is both a reflection of and a challenge to the norms of modern fame.

Kanye’s Fury: Protection or Possession?

Kanye West, never one to remain silent, reacted with characteristic outrage. Reports suggest he likened Kim Kardashian’s decision to allow North’s involvement to “sex trafficking,” accusing his ex-wife of “pimping out” their daughter for the sake of celebrity currency. This accusation, beyond its inflammatory rhetoric, speaks to a deeper tension within co-parenting dynamics in the age of social media and hyper-visibility.

Kanye’s stance appears to be one of protection, rooted in his longstanding discomfort with the exposure of his children. Yet, given his own history of incorporating North into his music and fashion ventures, his outrage raises another question:

• Is Kanye truly concerned about North’s well-being, or is this about control over her image – who gets to decide her trajectory, and whose artistic world she gets to inhabit?

Child Autonomy or Parental Projection?

The debate around North’s participation in Childlike Things is a microcosm of a much larger societal issue: the autonomy of children in the entertainment industry. Historically, child stars have struggled under the weight of expectations and exploitation. From Shirley Temple to Britney Spears, the intersection of youth and fame has been fraught with danger.

North West, born into unimaginable wealth and scrutiny, is in a uniquely complex position. Unlike the child stars of past generations, she isn’t just being groomed by studio executives – she is the product of a media empire built by her own family. The Kardashian brand thrives on visibility, and North’s artistic pursuits cannot be entirely separated from the machinery that made her mother a cultural force.

Yet, there’s also the possibility that North genuinely enjoys these creative endeavors. If she actively wants to be part of these projects, does that invalidate concerns about her being “pimped out”? Where do we draw the line between child empowerment and child exploitation?

The Future of North West: A Cautionary Tale or a New Era of Child Stardom?

The discourse surrounding Childlike Things ultimately transcends the specifics of North’s feature. It forces us to consider the evolving nature of fame, childhood, and parental influence in an age where every moment can be commodified.

If North is indeed an artistic prodigy, does she have the right to step into the spotlight on her own terms? Or is she simply another young celebrity being swept up in an industry that has historically chewed up and spit out child performers?

What’s clear is that the battle over North West – her image, her future, and her autonomy – will continue to unfold, not just between her parents but within the broader cultural conversation about what it means to grow up famous in the digital age.

The post North West, FKA twigs, and the Ethics of Child Stardom: A Battle of Art, Autonomy, and Parental Power appeared first on KIMU.

You can read more features in our Music + Culture section.

AUDEN – Simulation

Rising NY-based artist Auden has released their 10-track EP, Simulation which we are obsessed with. A genre bending trip through europop, R&B, synth pop, subversive garage, glitch and more, Auden has a vast sound and catalogue, and the EP is the follow up to their first mixtape, Element.

With songs about love, connection, sobriety and the human condition, we love the intricate detail that Auden has poured into their body of work.

Auden, who recently co-produced Vapid Prophecy by NEO 10Y, has teamed up with House DJ, Don Crescendo and Brazilian artist, Junior High on the record. Simulation breaks the barriers between R&B, Dance and Experimental, and Auden continues to push sound forward.

Upcoming releases include a deluxe edition featured remixes of the singles, as well as other tracks. It will include remixes by Don Crescendo, Deluxe Ultra, Kylie Cloud, Lucia Beyond, Saint Taint & Adam.

FEAR OF MARKO – Dizzy

Dizzy is the debut from rising UK artist FEAR OF MARKO, it’s a textured pop-punk meet hyperpop anthem about spiralling, the understanding of self, internalized thoughts and falling for someone but also generally just being…dizzy!

Hailing from Manchester, MARKO has been building a cult following of likeminded individuals in the alternative and queer music scenes. We love the soundscape of Dizzy, MARKO’s passionate and nuanced delivery or the relatable message, and MARKO’s super engaging TikTok presence!

FEAR OF MARKO draws musical influences that range from the Gorillaz, McFly & Sneaker Pimps to Grimes, Charli XCX and Playboy Carti, but it is clear that MARKO also creating a lane of his own!

You can watch the lyric video here which our protagonist lips synchs along to, bringing to life his dizzy dimension.

Nikitaa – Bad Trip (Sitam)

Nikitaa has released a multi-genre and expansive song called Bad Trip (Sitam), where she sings emotively in Hindi/Urdu “if anyone has a prayer for the injustice”.

The narrative of the song sees the artist coming off a Bad Trip, but it feels like there are multiple interpretations of the song, which references a personal relationship, the state of society and first-hand experiences from the artist herself.

There is a surreal ancient civilizations-esque instrumental section which is epic and there are plenty of nods to Nikitaa‘s heritage. We are obsessed.

FKA Twigs – thank you song

We had to share the Aidan Zamiri directed video for FKA Twigs‘ thank you song, which is a very emotive piece, referencing suicidal thoughts, taken from her CAPRISONGS mixtape.

She opens the song with the vulnerable lyrics, “I wanted to die, I’m just being honest, no longer afraid to say it out loud…”

The video sees FKA Twigs simply get on a bus and enjoy a conceptual journey, as she sings “love in motion, my heart’s open”.

Izzy T – On My Mind

With a perfected futuristic alt-rock soundscape, we are in love with the latest single from Izzy T! On My Mind is a vulnerable anthem with an exquisite vocal performance and production, so it is no surprise that is has been chosen as Kerrang!’s track of the week.

Produced by Quentin Roelandt aka The Q, and co-written with Quentin, Celine Love and Kaey, the lyricism is profound and emotive, and the song takes us on a cerebral journey through Izzy T’s mind.

The song also has an epic video directed by Shan Snowling where we see Izzy T drowning in her woes, chained in an industrial building and performing like the icon that she is.

Rena Heart – Ride or Die

Setting the vibe with a moody synth-pop soundscape, we have been immersing ourselves in Rena Hart‘s latest single, Ride or Die. With layered vocals, intricate harmonies and poetic lyricism, Rena tells a romantic story about her favourite person, who she wants by her side.

Speaking on the meaning of the track, Rena says, “It’s about finding your way with someone who’s there for the ups and downs. It’s about the journey and all it entails. It’s about tenacity, hope and love.”

We are particularly enthralled by the fuzzing bass guitar details and the elegant piano outro. We stan the divergent synth work and how cohesively it fuses with Rena‘s enigmatic and atmospheric vocals. Rena Hart is a Mexican-American solo artist born and raised in Los Angeles and this is her first release after a two year hiatus. 

NÆLDE – Who Do I Owe My Smile 

Setting the tone with rising keys, textured details and a luxurious synthscape fused with atmospheric vocals and divergent and pulsating percussion, we are obsessed with NÆLDE‘s single Who do I owe my smile.

Speaking on the track, the rising Danish artist who is based in Berlin says, “Who do I owe my smile is a self-written- and made track about not wanting to put on a performance or mask simply to please others. I am asking the question of whether a smile is something I owe in order to be allowed to take up space. The song is dedicated to my younger sister.”

We feel inspired by the message of the song and are in awe of the ethereal, transcendental and intricate production.

Alta Falls – Trust Me

Setting the tone with an immersive and meditative indie pop soundscape, Alta Falls have delivered a quintessential love song with their new single, Trust Me.

“Trust Me, move on closer, I think I’m falling in love with you, more than anyone else…” sings the duo, who have amassed over 20,000 TikTok followers in recent weeks.

Speaking on the inspiration for the track, Alta Falls say, “The lyrics on Trust Me were inspired after a bittersweet trip to the 2017 AFL Grand Final. My team, the Adelaide Crows, were in their first grand final after almost 20 years, and my hopes were riding high to achieve a childhood dream of watching them win a flag”, explains lead singer, Nathanael.

“Unfortunately it wasn’t to be. And although it was a heartbreaking result there are still plenty of fond memories, including taking in the post-match The Killers concert along with the other half of Alta Falls, Matt”, he continues.

Lou Emery – Instinctual

“I’ll regret you in the morning, this I know…” sings Lou Emery, who is a rising pop-rock artist based in Los Angeles, on her new track Instinctual. Delivering a hybrid soundscape that has elements of disco, Lou takes us on a hedonistic journey where she showcases the more assertive side of her persona.

Speaking on the track, Lou says, “Instinctual is the first single from my upcoming debut EP. This sexy, beat-driven pop tune embodies the modern club scene, describing the thrilling chase of meaningless flirtation. I don’t plan on thinking tonight–and he may just be the perfect solution.”

Lou cites Harry Styles, Dua Lipa and Olivia Rodrigo as some of her sonic peers, which we can see come through in her art, but it is clear that she is forging a path of her own!

Jonathan Lobo – Magic

With immersive keys, vocal textures and an emerging guitar, all building into an enigmatic crescendo, Jonathan Lobo opens his new single, Magic with reflective lyrics about a connection that he had with a girl.

He takes us on a poetic journey, whilst Jonathan sings atmospherically on the hook, “Can we follow this Magic? My life won’t be the same…” The production on the track by Aman Sheriff (of Galipolli) is polished and hypnotizing.

Speaking on the track, Jonathan says Magic is about, “Someone that I met last year that brought excitement, purpose and inspiration into my life.”

Khasaia – Levels

With atmospheric vocals, fused with an intricate soundscape of textured synths, keys and a sitar, we are hypnotized by Khasaia‘s new single, Levels. The UK artist has a seductive, hybrid R&B vibe, an exceptional rap flow and a luxurious frequency that we can’t get enough of.

Speaking on the track, Khasaia says, “I always stop listening to a song once I’ve released it, but I listen to Levels last night and fucking hell, I did that!”

The song is dimensional, full of details, varying deliveries from the rising artist, and features a really catchy hook and intricate lyricism. We stan. You can watch a teaser for the song via Twitter.

Adam Naas – Forever Mine

Giving that authentic nostalgic edge that we desire so much, Adam Naas has released his latest single, Forever Mine. What marks the start of a new era for the rising artist based in London, Forever Mine takes us one a journey where Adam begs for one more night as he projects the leaving of his love.

We love Adam’s vocal range and the luscious harmonies that accompany him on the song. Forever Mine really demonstrates the vulnerability of the artist who is one of Naomi Campbell’s favourite artists in the world! Adam has a lot of upcoming performance dates in France this year!

The post New Music Spotlight appeared first on KIMU.

FKA Twigs just released her newest EP, M3LL155X with a rather stunning set of videos to accompany. The brilliantly constructed sixteen minute short film includes all of the tracks on the EP – my personal highlight being the appearance of Michele Lamy who is also set to feature in one of ASAP Rocky’s upcoming videos.

The post FKA twigs – M3LL155X appeared first on KIMU.

This needed to belong here, like a piece of contemporary art (thanks for that Alex).

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This isn’t selling out. This is being smart and creative and proving that art can be commercial. Here’s FKA Twigs’ short film for Google Glass. It’s called #throughglass, yes there is a hashtag but that is totally valid in this scenario. The film features edited versions of the tracks “Video Girl” (LP1) and “Glass & Patron” and a lot of vogue-ing which is becoming Twigs’ signature.

The post FKA Twigs for Google Glass appeared first on KIMU.

This video and song are both incredible – the Aaliyah Queen of the Damned reference is perfect. This week can officially go down in history as the week of FKA twigs.Finally having a much deserved moment in the spotlight. Kudos to Tim Noakes for putting her on the cover of Dazed (you MUST MUST MUST read the interview)…we have another potential Lana-esque artist on our hands. Not in a sonic sense, but more in a “what you expect to not be commercial but really it is” way. FKA twigs is extremely commerically viable (more so than Lana) sonically – the beats and sparse vocals are hugely remixable – which is probably something she should be careful with, as the art aesthetic that FKA has developed over the years which has since made her the star in her own art exhibition is rather fucking beautiful and will serve her better in the long term.

It’s the reason I am sitting up at 2am writing about her.

Anyway, the video for two weeks is her Born To Die (throne included) – less death, more VFX and less strings – nonetheless a beautifully directed video by Nabil (Nicki Minaj – Lookin’ Ass Nigga) who is a director tipping into the cult mainstream.

FKA is also working with Emile Haynie (Lana, Natalia). He entire sound drips with sex. It’s pretty gripping. Emile works well with this as a palate.

Comparisons sonically include “The Weeknd’s little sister”, “the trip hop Sade”, “R&Björk”, and visually she is like a pop version of artist KESH, but a a brand, she has Lana potential, as long as she plays it right. Even the video for FKA x inc. is her subculture, darker, London edit of Blue Jeans. This isn’t shade, just proof that when a template works, it works and FKA twigs is deservedly taking a direction that is going to work for her.

LP1, the debut album from FKA twigs, will be released on 11 August (12th in the US) via Young Turks.

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