Q2K’s debut EP Divine Mojo is an incredibly diverse celebration of queer culture in South Africa – Texx and the City
Q2K is a sonic disruptor, a fearless ambassador of self-expression, and she’s taking us back in time on her debut EP.
A celebration of the underground ballroom culture of the ’80s and ‘90s, Divine Mojo is as carefree as the movement from which it draws inspiration.
Contrast is at the heart of this project – masculinity versus femininity, modesty versus sex appeal, pain versus pleasure, organic versus synthetic, contemporary versus traditional. Q2K weaves these themes effortlessly, creating a sonic universe where creativity knows no limits.
“This project is my liberation,” says Q2K. “It’s about fusing all the realities that shape me – my queerness, my influences, my love for movement and music, into one perfect universe where we dance, we celebrate and we exist freely.”
Known for her background in creative direction and fashion styling, Q2K’s artistry reflects this deep-rooted connection to the world of fashion, performance, and nightlife, as on opener “Dollhouse” – an electrifying fusion of hyper-pop and R&B, exploring the push and pull of what it means to be hyper-feminine or hyper-masculine.
This fluidity, both in meaning and in style, continues on “Wunmortym” featuring Rati$upremacy, marrying old-school disco with a bold queer aesthetic. “Fatally Fame” pays homage to Madonna, channelling larger-than-life pop stardom, while “All The Time” and “Beja” both represent the evolution of South African queer nightlife – blending global club influences with homegrown sounds like Gqom and amapiano.
This record is both nostalgic and futuristic – a space where ballroom meets underground meets house meets pop meets disco meets rap.
Yes, there’s a lot going on. Yes, it’s incredibly diverse. Yet, every track pulses with an undeniable musical energy that symbolises Q2K’s budding artistry, not just as a musician, but as a figure of sexual liberation, of queerness, and perhaps most importantly, of self-love.
