There are performers whose voices command attention, and there are artists whose presence transforms a space long before applause arrives. Adeyinka ‘Super Girl’ Akinremi belongs to the latter category. Her artistic practice has never been confined to a single discipline. Instead, it has evolved through theatre, music, voice acting, broadcasting and choreography, creating an artistic language that is as much about storytelling as it is about performance.

This multidisciplinary identity found another compelling expression during World in Colour, a celebration of the World Day of Cultural Creatives held at Arnot St. Mary CofE Primary School in Liverpool.

Organised through a partnership between Arnot St. Mary CofE Primary School, CHAC CIC, Red19 Creatives CIC and ROOTS & Radiance Network CIC, the event brought together visual artists, photographers, performers, educators and culture practitioners for a day that celebrated creativity in its many forms.

The programme featured workshops, photography exhibitions, fashion showcases and live artistic presentations, creating an environment where different art forms existed not in competition but in conversation.

Within that landscape, Adeyinka’s performance emerged as one of the day’s defining moments. Accompanied by the expressive saxophone artistry of Dayo Sax and Laitan Desmond, she delivered a vocal performance that felt less like a musical interlude and more like an unfolding narrative. Rather than overpowering the instrumental accompaniment, her voice entered into dialogue with it, allowing melody, silence and improvisation to shape the emotional rhythm of the performance. There was a noticeable theatrical intelligence behind every phrase.

A few weeks after the event, The Guardian spoke with Adeyinka over the telephone about the performance and the artistic journey that brought her to this point. She was quick to trace the foundations of her work back to voice acting, a discipline she believes continues to shape everything she does on stage.

“Voice acting taught me that emotion doesn’t depend on movement,” she reflected. “You have to paint pictures with nothing but your voice. When I moved into theatre and music, I wasn’t leaving voice acting behind; I was simply giving those stories a physical presence.”

Her explanation illuminated what had been evident during the performance. Watching Adeyinka sing, one senses that every lyric carries intention. She understands not only how to perform a song but how to inhabit it. The result is a performer who communicates equally through expression, gesture, timing and silence.

Her years in theatre are equally apparent. Rather than treating songs as isolated musical pieces, she approaches each performance as a dramatic journey with emotional progression. The audience is not merely invited to listen; they are gently drawn into the emotional landscape of the work.

Increasingly, this appears to define Adeyinka’s artistic philosophy. Her performances resist spectacle for its own sake. Instead, they seek connection between performer and audience, between story and sound, and between culture and lived experience.

When I mentioned that her stage presence often feels more conversational than performative, she agreed.

“I’ve always wanted people to feel included rather than impressed,” she said. “Whether I’m singing, acting or hosting, I’m trying to create a space where people recognise something of themselves. That’s where genuine connection begins.”

In many ways, this reflects a wider movement taking place within contemporary community arts practice. Across cities such as Sheffield and Liverpool, artists are becoming cultural connectors as much as performers, moving comfortably between education, community engagement and artistic production.

It is a shift that has become increasingly visible among multidisciplinary practitioners who view creativity not simply as entertainment but as a means of building relationships, preserving identity and encouraging participation. Adeyinka’s work sits comfortably within that conversation.

Her ability to move across voice acting, theatre, broadcasting and music demonstrates an artist interested less in artistic labels than in communication itself. Each discipline informs the next. The sensitivity developed through voice acting deepens her musical interpretation. Her theatrical experience enriches her stagecraft. Broadcasting sharpens her relationship with audiences. Choreographic understanding gives physicality to musical expression.

She sees these experiences not as separate careers but as chapters of the same creative journey.

“People often ask which one I love most,” she told me. “The truth is, they all serve each other. Theatre gives my music character. Music gives my theatre emotion. Broadcasting teaches me how to listen. Every discipline has made me a better storyteller.”

That sense of continuity explains why her artistic practice feels remarkably cohesive despite its breadth.

What made her performance at he event particularly memorable was the generosity with which she occupied the stage. There was no urgency to impress, only a quiet confidence in allowing the work to unfold at its own pace.

Supported by the textured improvisations of Dayo Sax and Laitan Desmond, she created moments where voice and instrument appeared to converse rather than accompany one another.

The performance became an exercise in listening as much as singing.

Perhaps this explains why audiences remained attentive throughout. In an age when live performance often competes for attention through spectacle, Adeyinka demonstrated that sincerity remains one of an artist’s most compelling qualities.

Her contribution also reflected the wider ambition of World in Colour. The event was not simply a showcase of artistic talent but a celebration of creativity as a shared cultural language.

“I hope people leave believing that creativity has the power to heal and connect us. If someone walks away feeling more hopeful, more confident or simply reminded that their story matters, then the performance has achieved its purpose,” she said.

That response seemed to encapsulate not only her performance at World in Colour but the direction of her wider artistic practice.