Born in Zimbabwe and raised in South London, Daecolm is a product of many worlds. But lately, he’s been reclaiming the one that raised him. After years building his name as a behind-the-scenes pen for stars like Chris Brown, Ty Dolla $ign, Ella Mai, and Labrinth, Daecolm is finally stepping into the spotlight—not as a ghostwriter, but as a full-bodied global artist with Zimbabwean sauce in his bloodstream and headphones tuned to the world.
And the world is clearly listening.
Just this month, Daecolm appeared on “99,” the fiery new posse cut from Nigerian rap king Olamide, flanked by Seyi Vibez, Asake, and Young Jonn. It’s a genre-jumping banger that finds Daecolm comfortably dancing between Lagos street slang and smooth R&B phrasing—his voice gliding like velvet over a beat that doesn’t wait for anyone to catch up.
A week later, he pulled a sharp left turn and showed up on “Unforgettable,” a crisp, electro-tinted collaboration with Brazilian hitmaker Alok and rising vocalist Malou. The result? A warm, dancefloor-seducing anthem that merges Afro-pop pulse with European electronic finesse. Daecolm isn’t just crossing borders—he’s bending them to his will.
But don’t mistake the smoothness for softness. There’s a quiet deliberateness to how he moves. Since relocating back to Harare in 2024 after 25 years abroad, Daecolm has been grounding his next creative chapter not just in production sessions or Spotify numbers, but in cultural reconnection. In interviews, he’s spoken about the need to return “home,” not in a symbolic way, but as a strategy—to dig where his roots are still warm.
And that warmth shows in his musical evolution. You can hear it in tracks like “Confidence” and “Better”, released in late 2023—lush records soaked in personal clarity and sonic maturity. But perhaps the most exciting development is what’s coming next: a new single titled “Special,” teased in a recent birthday post, signaling that Daecolm’s solo catalog is far from taking a backseat.
While many artists of African descent chase Western validation, Daecolm seems to be running in the opposite direction—flipping the script by exporting cool from Harare to the world. His collaborations might orbit the Afrobeats mainstream, but his gravity feels different. He’s not trying to fit into any scene. He’s building his own hemisphere.
In an industry that often celebrates loud over layered, Daecolm is proof that global relevance doesn’t need a gimmick. Just intention. And a refusal to be boxed in.
Editor’s Note:
If Daecolm’s next chapter feels inevitable, that’s because it is. The groundwork has been laid, the receipts have been signed, and the voice? Still smooth. Still stretching. Still very much at home—whether in Lagos, London, São Paulo, or Harare.
