One of the most kinetic and boundary-warping female R&B / rap artists in the landscape right now, Tkay Maidza, follows up her attention-grabbing first release of the year Must Be with club-ready new offering Pressed, released via UnitedMasters and Island Records / Dew Process.
A hypnotic, Afrobeat groove courtesy of Maths Time Joy (Nao, Mahalia) brings an instant mood change, Tkay flexing her authority in relationships, business and fashion. Her staccato, technical bars jump and purr in equal measure, “I been that bitch since flip phones and beads” asserting the aura before she breaks into the siren call of the chorus “I just want my pay now”, Tkay defiant and commanding in equal measure.
Following her standout release Must Be last month, Pressed continues Tkay’s ascent and trajectory, following her album ‘Sweet Justice’ securing the 2024 ARIA Award for Best R&B Soul Release, a standout turn on Adekunle Gold’s Attack and her Spotify Singles rework of Electric Feel.
The Zimbabwe-born, Australia-raised artist now residing in LA asserts her natural prowess and range, dialling up attitude and charisma on Pressed, the DNA of her influences remains, refracted through something sharper and more personal. It’s this convergence that has defined her rise – from becoming the first female rapper signed to 4AD to touring with both Billie Eilish and Dua Lipa, her collaborations with Kaytranada, JPEGMAFIA and Charli XCX underlines her position as one of modern music’s true creative stars, 300M streams and counting.
Speaking on Pressed, Tkay states, “House Music is a big part of my artistic DNA, and I’ve been really excited by Amapiano (a popular South African subgenre of House Music) lately, as it originates from South Africa like me. I just wanted the opportunity to go explore different types of vocal styles but also come back to the House flows that I was always really excited about.”
Marking the start of a new era, Tkay steps into independence on her own terms. Now based in Los Angeles, she shifts gears with intention, choosing herself over the noise as a form of retribution. “People shouldn’t count me out or underestimate my abilities. They should be afraid when I’m quiet, as I come back more evolved,” she says. That pursuit feels less like momentum than precision – balancing chaos and clarity, intuition and design. What emerges is beyond reinvention. It’s alignment: a world pulled into focus, edges sharpened until nothing feels accidental.
With thanks to Island Records / Dew Process.
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