An intense controversy has erupted in the industrial music scene following the revelation that the act known as African Imperial Wizard is actually a middle-aged white man. This shocking information was unveiled by the experimental band Xiu Xiu on November 17, 2025, during the Hradby Samoty festival in Bratislava, Slovakia. The band has described the performance as “extreme blackface” and an example of “profound racist appropriation.”
The incident occurred when the performer, who had claimed an ‘Angolan liberation-war pedigree,’ took off his hood after his set, exposing his true identity and leading to widespread outrage from Xiu Xiu and the festival attendees. The band stated on Instagram, “We had the extreme displeasure of playing with him last night not knowing who he was until he came backstage and, to our shock, took off his hood. This is extreme black face and a profound level of racist appropriation.”
Xiu Xiu criticized the project, highlighting that the man uses software like Ableton to create samples rather than authentic cultural recordings. They labeled his act a blatant form of cultural theft masked as artistic expression, condemning the elaborate deception as an insidious form of appropriation.
The situation raises critical issues regarding cultural appropriation in the music industry. Xiu Xiu pointed out that the performer’s use of African motifs and imagery—including borrowed stock photos from sacred Xhosa rituals—illustrates a disturbing trend wherein white artists exploit Black and African culture for personal gain while failing to acknowledge their own identities. This level of cultural deception prompted Xiu Xiu to challenge the music community to question the authenticity and backgrounds of performers more rigorously.
Furthermore, the incident is indicative of deeper systemic issues within the industrial and experimental music scenes, where such appropriation has often gone unchecked. The lack of scrutiny regarding African Imperial Wizard’s past raises serious questions about how many other performers operate under similar falsehoods. The music industry now faces an urgent need for more robust vetting procedures for artists, particularly those who capitalize on cultural identities that are not their own.
This exposure may initiate a significant dialogue about accountability in live music events and broader conversations surrounding racism and appropriation across musical genres. Xiu Xiu’s bold stance has catalyzed a movement that could encourage both artists and audiences to confront uncomfortable truths about representation and identity in the arts. The hope is that this moment will serve as a turning point, fostering a more inclusive and aware music industry that puts an end to unchecked appropriation and promotes authenticity.