Gearing up to deliver an immersive and contemplative experience at the Alphabet this Sunday, the Mozambican-born artist will centre the stage around a blend of traditional and contemporary representations of African culture.
With the show titled From the East, and Beyond, the upcoming performance is all about East Africa and blends ancestral and contemporary influences, crossing Mozambique, Brazil, and the Southern Hemisphere.
Featuring her best work from Kumlango, her fourth studio album, released in 2025, Lenna’s determination is to bring together cross-cultural awareness. However, it took immense courage for her to become who she is today.
Moving from Mozambique to Brazil in 2012, Lenna’s affection for Brazilian music came about after her exposure to its culture in her homeland.
Historically speaking, the Portuguese colonisation of East Africa introduced their language, paving the way for literature and music that continue to influence contemporary arts and media of Mozambique.
But academic curiosity took over Lenna’s creative mind after realising that Brazilian music was far more diverse than just one mainstream sound. At the centre of this was her father, then a sound engineer, who instructed his daughter in dissecting music, shaping her present musical style.
When Lenna travelled to Brazil, she initially planned only a brief stay before attending the Berklee College of Music on a scholarship. Though financial hardships stopped her in her ambitious tracks, her story was destined to take a different turn.
In search of her unique sound, her biggest challenge of all was to be accepted by other artists. ‘Not only as a Black artist, or an immigrant’ she states firmly, ‘but just as an artist’.
Surmounting indirect discrimination benefited Lenna’s creative work. It provided her with a voice of reason in determining what she truly wishes to express as a music artist.
Though, as with any art that is political, she is not intimidated by proclaiming that politics does influence her music. ‘Definitely, my art is very political. I could not do otherwise. But art has the free will to be metaphorical about it.’
Adopting herself to the consciousness of racism, she finds her heritage is not conditioned by race or the colour of her skin. ‘Only by cultural habits,’ as she explains.
‘When I got to Brazil, let’s just say, this is when I realised that I was Black. In Mozambique I was just a human being with dreams and customs of my culture. Across the continent, I had to find a new way to tell this story and that I would not perpetuate the idea and the projection it may come with. That stereotype that people already have about African artists.’
According to Minority Rights Group, an advocacy group for minorities and indigenous people, Afro-Brazillians remain systematically marginalised in every area of their lives, from health and education to employment and wealth.
This sentiment becomes palpable when Lenna acknowledges her awareness of concealed racism. ‘You are not sure what other people actually think of you,’ she adds with a sombre mood looming around our interview, while also noting the familiar hypocrisy many Afro immigrants face.
It left her bemused when pondering the right approach to presenting herself as an artist in a country that is still learning how to foster inclusion.
‘People feel like I am very present on social media, but I do feel like I am behind. Perhaps this is because I am not sharing as much as I would like to care for the essence of my craft. I have been involved in my creative process lately more than anything else, and haven’t found the time or the right format to share some of the staff I personally care about.’
Acessórios, Yar./Courtesy of Rafael Dardes
Lenna is dedicated in channeling her energy into promoting Kumlango music album, while embarking on a European tour to champion the causes she is passionate about.
As an independent artist, she advises any up-and-coming talent to zero in on the process rather than a financial reward. From her perspective, ‘music is not only supposed to pay your bills, but also be a service to society. Although it is of course important to support artists financially, so they can keep doing the work.’
Emphasising the dramatic aftermath that followed some of the major artists in the industry, Lenna ascribes commercial drive as a sacrifice worth careful consideration. ‘You really have to give up a lot of things that you treasure. And for you to hold that safe, keep those things safe – it is a fight and a big one.’
For when it comes to success, in Lena’s opinion it is not anchored in numbers but in the acceptance and affection of those you hold dear to your heart. Fellow musicians. Friends. Family. In the discovery of all new lies inspiration that has the potential to launch any artist into the spotlight.
Her fifth music studio album, Neneca de Kalunga is set for production January next year. Sponsored by a public fund Aldir Blanc PNAB, the excitement is underway for the release set for October 2027.
Its concept combines a distinct idea: one that carries a newborn safely between the thin line of spirituality and the physical world. From a direct interpretation of Lenna, Neneca means the act of holding a newborn in a cloth. While Kalunga stands for the place of origin where everyone goes to and comes from. ‘It is a portal in a way. But at the same time when you go to the other side, you don’t disappear and you are still here. You are a parallel to what is happening in the physical world but in another realm. So Kalunga is that.’
Despite the relentless schedule, there is a haunting deliberation as to the fashion choices Lenna’s stylist will make.
Her styling for physical performances is carefully devised by Dayana Molina, an indigenous stylist, researcher and activist, to allow freedom of movement. As the owner of NALIMO, Brazil’s first indigenous brand, Molina’s fashion label boasts its foundation in ancestry, sustainability, and social equity, with all products crafted solely by women. Worn widely by Brazilian pop-stars such as Anitta, it also recently held a fashion show in Paris with pieces ranging from ruffle corsets to handcrafted earrings from natural wood.
Lenna aspires to be dressed by other favourites including Dendezeiro, a Brazilian brand launched three years ago and managed by Hisan Silva and Pedro Batalha, alongside MAXHOSA, a luxury South African brand focused on showcasing the greatness of the mother continent.
Being an independent artist is a tough gig. When you are a solo mother and an immigrant it is even harder. Yet for Lenna Bahule, the core of her creative process does not stem from the thrill of a paycheck.
Giving birth to her son was the breakthrough moment that brought clarity to her art. ‘My son was a blessing that gave me the courage to be more specific as to what I needed to say,’ she warmly tells us.
Certainly, for some, being solo means being single. For Lenna, it just means raising her child with the help of friends, a supportive community and a loving partner, without the biological father.
Watch Lenna Bahule perform on Sunday, October 11th at the Alphabet.
UK TOUR Dates
| Date | Venue | Location |
|---|---|---|
| October 11th | ALPHABET | Brighton, UK |
| October 15th | Tree House | Frome, UK |
| October 16th | JAMBOREE | London, UK |
