Dear Kanya: An open letter to Kanya King on behalf of the MOBO Organisation

On behalf of the MOBO Organisation, senior producer Eunice Obianagha (above, right) writes an open letter to Kanya King… "Unmatched determination, passion, creativity, calmness, bubbly warmth, wit and that smile. These are just some of the many qualities that come to mind when I think of you, Kanya. They are also the qualities that have me holding back tears yet again. It feels incredibly surreal that you’re gone, that I can’t send you a quick email, or that we’re not going to be on the phone for ages working through the next landmark move you had in mind. I will not be letting go of those moments, or your lessons in vision, action and perseverance, that I’ve been fortunate to learn first-hand. “It all started with the MOBO Awards, the beating heart of your vision. You saw a need and a version of the world that didn’t exist, so you built it. From that starting point, it has grown over three decades into a movement, from London to Glasgow, Liverpool, Leeds, Coventry, Sheffield, Newcastle, Manchester and across the globe. Wherever it has reached, it has brought people together. “After MOBO Fringe launched alongside the Awards in Sheffield in 2024, I remember you telling me about the impact it had made in the city. There were so many great outcomes, but one thing that really stayed with you was the 5,000 children from 70 schools across Sheffield who took part in a mass choir project. Through MOBO Fringe, they learned, performed and recorded Blinded By Your Grace by MOBO winner Stormzy. You believed things could be better, and you spent your life proving they could be Eunice Obianagha, MOBO “You always told us that our ambition for MOBO should never stop at music; it should reach anyone who has the talent but not the opportunity. You thought past the obvious, asking who wasn’t being seen and what could be done to change that. “Through MOBO UnSung and MOBO Help Musicians, I’ve seen that belief take shape in real ways. Early support and mentorship have given people the space they needed to develop and go on to do amazing things. “Equally, MOBOLISE carries that same philosophy beyond music, opening employment doors across the creative industries, media, hospitality and technology. “The MOBO Organisation’s partnership with the London Theatre Consortium also shows your clarity of purpose. Across four cohorts, it helped develop new voices and give mid-career leaders the experience, networks and confidence to thrive in some of the UK’s top theatres. Having fought so hard to be heard, you understood the importance of representation at every level. “That same commitment to visibility and representation extended to the MOBO movie screenings, which shone a light on Black-led films and the talent behind them. One of my favourite memories is when you had the inspired idea of inviting singers to perform in the auditorium before the film. It was about the legendary Aretha Franklin, and you wanted the audience to feel that connection before it even began. The audience didn’t just sit and watch – we all began singing, clapping and becoming part of the event. I’d never been to a screening like it before, and I haven’t since. “You spent your life challenging injustice, especially in the music industry. In 2021, I had the privilege of going with you to the Music Week Awards, where you received the Strat Award, one of the highest honours our industry can bestow on an iconic figure. I still remember sitting there watching you walk up to the stage, completely yourself, humble as ever. “The industry had been so devastatingly hostile towards you and MOBO at many points leading up to that moment, so seeing you accept that award in front of the great and good of our world, and hearing you speak so honestly about your journey to get there, was incredibly powerful. “Of the 16 years I had the honour of working alongside you, the last two MOBO Awards ceremonies will always be the most special to me. They felt like the clearest expression yet of everything you had worked so hard to achieve. “Most importantly, in 2025, we were able to surprise you with a MOBO Paving The Way Award. The look on your face of complete shock, followed by emotion, was unforgettable. You deserved that honour and the arena full of people who gave you a standing ovation. “In your speech, you promised us that you would see the 30th anniversary show despite your diagnosis. True to your word, you held on, fighting your health battle to see it take place in March this year. “The reach and depth of your impact are almost impossible to measure. People have felt seen, been inspired and changed direction because of MOBO. You did that, Kanya. “And now, your most recent innovation, House Of MOBO. I don’t think I can put into words how proud I am of you for this. Seeing you cut that ribbon at the launch filled my heart. You were always like that. If something important was missing, you didn’t wait for someone else to build it, you built it yourself. “When I visited the venue for the first time, I stood in the back thinking, ‘For so many years, we’ve taken MOBO into other people’s spaces and created moments; now, Kanya has built us a home. A representation of the MOBO community.’ “This is why it’s still so hard to comprehend that we won’t have you with us to see what comes next. “As we ask ourselves how we uphold your legacy, I find myself continually returning to the fact that MOBO isn’t just an organisation, it’s an institution. “You believed in possibility. You believed things could be better, and then you spent your life proving they could be. You have created change that will not be reversed. Thank you for building us all up and for trusting us with what you built. We will carry you forward in everything we do, Kanya. “Love always, E.”

Write On: Music Week writers share their tributes to Kanya King

Music Week writers Adenike Adenitire and Colleen Harris share their recollections of interviewing Kanya King… ADENIKE ADENITIRE: Having started my career as a journalist when the MOBO Awards was still in its infancy and attended it many times since, I’ve had a front-row seat to its tremendous growth. I have so many great memories of the awards – from seeing a plethora of my favourite acts receive the spotlight they simply weren’t getting anywhere else, to watching show-stopping performances that are ingrained in music history, to getting all dressed up and celebrating alongside people who genuinely cared about the culture. So many artists received recognition that helped change the trajectory of their careers. For many US acts, their first UK – and often European – television appearance came on the MOBO stage, providing a crucial springboard as they expanded their careers. The UK hadn’t seen anything like it before, which is why those early years felt so special. I had many pleasant social exchanges with Kanya over the years, including interviews I conducted for various outlets. I was privileged to conduct one of her final interviews, a MOBO 30th Anniversary special for a Music Week digital cover earlier this year. She had a lot to say, and I know it was important to her that she said it. She spoke about the humble beginnings of MOBO, the future of the organisation and the legacy she hoped to leave behind. On the latter, she told me, “When we launched in 1996, many of the talents and genres we celebrate weren’t receiving the recognition they deserved in the mainstream, and if the next generation of artists, entrepreneurs and creatives feel more confident stepping into their potential because doors have been opened for them, then that will be the most meaningful legacy of all.” When people talk about the vibrant Black British music scene and the many success stories it has birthed, Kanya’s name should always be a major part of that conversation. The fact that she sustained her vision at the highest level for three decades is remarkable. Anyone who understands the realities of the industry – and the gatekeeping and resistance that go on, especially when it comes to ethnic communities – knows that this would not have been easy. It only underlines her admirable strength and resilience. COLLEEN HARRIS: Interviewing Kanya King for the cover of Music Week when she received the Strat in 2021 marked a significant moment of reflection. By then, I had known her work from two perspectives: first, as a young singer who had won Best Unsigned Act as part of a group called Amoyé at the 1999 MOBO Awards, and later, as a journalist observing the industry she helped shape. It meant a lot that it fell to me to reflect on her career, given the impact she had on the careers of so many, including my own. We spoke about attempts to “get rid of MOBO” and the will it took to keep going, including remortgaging her home. “There were no guarantees of success, but I just had to give it everything,” she told me. “A lot of people were polite, if you know what I mean, but I’ve struggled to get the support.” During our conversation, Kanya reflected on her “very elegant” Ghanaian father, who died when she was 13. This stood in stark contrast to the negative images of Africans she recalled seeing on television growing up. She spoke about how that shaped her belief that people deserved to see themselves reflected and celebrated on screen. What stayed with me was how grounded Kanya remained. Even as her influence grew, I was always struck by her unassuming manner. Beneath it all, there was a quiet confidence and a determination that never seemed to waver. Kanya’s legacy runs through the fabric of Black British music, in the artists, platforms and spaces that exist because of what she built. The MOBO brand, from the Awards to MOBOLISE and House Of MOBO, lives on not only in recognition of Kanya’s contribution, but in the infrastructure it created – foundations that allow others to be seen and supported.