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Blaqbonez Settles into His True Form with ‘Young Preacher’s’ Hedonistic Gospel.

One thing about Blaqbonez is, his music and style may not be for everyone but you cannot deny his genius. Emeka the stallion is an honest pimp. While most playboys and f**kboys wallow in denial, Blaq has never been shy to admit that his hedonistic approach to love and relationships asides stemming from evolutionary animalistic human tendencies, also has roots in past trauma and is just a defensive mechanism to avoid future heartbreak or as the Nigerians call it… ”Breakfast.”

Blaqbonez set out to make a worthy sequel to 2021’s ‘Love>Sex’ and that, he achieved, also settling into the most authentic we have ever heard Emeka and stretching the possibilities of his creativity beyond what the fans and critics already perceive of his artistry.

Blaqbonez attains Super Saiyan status on this project by rapping more than he ever has on a project since 2018, one would think that he set out to prove that he can join the league of Nigerian legends who dropped rap projects that were also as commercially viable as pop records like Olamide, Ice Prince, Falz, MI Abaga etc.

In the words of Drake ”rap albums doing numbers like it’s pop…”

Furthermore, Blaq brings his pen to the party but leaves some of the autotune from ‘Sex>Love‘ at home, taking on more complex melodies and hooks by himself (with a little help from Oxlade background vocals) and shows that he’s been working on his singing.

Young Preacher is by far Blaq’s most experimental work and his most honest work since he broke into the mainstream.

Blaqbonez albeit being a typical Yoruba demon (Emeka is Igbo by the way), Femi named Lagos bachelor with the libido of a rug rat and the commitment issues of a white girl from Alabama. At the same time, the second testament of his hedonistic gospel is rooted in truth and honesty. More accurately, his truth, his honesty.

Just like on the last album, Young Preacher is curtain called by a trap song fully celebrating his hedonism. The mellow trap title track introduces us to the latest of Blaq’s dozens of alter-egos ‘Young Preacher.’ Blaq explains that though he’s against marriage he believes in the sanctity of fatherhood, a weird concept to speak about while checking the list of female body types in his body count.

A radio talk show aside accompanies certain songs acting as either intros or outros explaining the concepts of their parent track.

‘Hot Boy’ is a bass guitar-laced galala and late mix which could easily host a Santi verse.

”One song on the album could be about your girlfriend’ Blaq spits as he goes on to describe graphically his lustful thoughts towards Nigerian female celebrities like Nancy Isime and Diana Eneje. The Preacher connects his hedonism to childhood trauma and abandonment issues. At this point on the album, Blaqbonez is mostly rapping which is a very brave thing to do.

Turns out he was warming up for the magical, falsetto-laced, infectious hook by Lojay on ‘Whistle’, which can easily compete for hook of the year in the Nigerian music scene. Ruger would settle easily on this song too.

One could imagine this track as a re-enactment of last year’s ‘Bling’ with Amaarae and BNXN fka Buju, but it still sounds fresh and present.

Interpolating a Zinoleesky flow while referencing his sex playlist which includes Santi when dealing Alte girls and the Marlian Records artist when dealing with Trenches thots. The track blur the line between groupie and anti-groupie anthem.

Employing the multiple choral voices on hooks techniques popularized by Asake, but like with everything else on the album, minimalism is Blaq’s watchword.

The lead single and standout track, Jae5 produced ‘Back in Uni’ is next and falls perfectly into the transition of tracks. An unapologetic confessional of some sort about all the hearts he has left to hyenas and vultures in Lekki. Definitely a contender for the best song on the project.

The gospel takes a detour to chronicle pride in living within one’s means and investing smartly ”i’d rather put a mill in crypto, name brands don’t guarantee drip tho” he raps proudly on ‘Fake Nikes,’ another standout track with some help from SA rapper Blxckie and penthouse rapper Cheque. Blaq kept the features mostly hip hop too, another big risk that paid off and keeps the sound cohesive and unique from 80% of what’s in the mainstream Nigerian market.

The production on the tape is as unique and fresh as it is catchy and replay worthy as displayed on ‘Ring Ring’ and also as experimental as can be on Paul Play sample laced ‘Loyalty.’

Blaq impresses and taps into his R&B bag to carry what’s probably the melodic and sing-songy performance of his career, more impressively with minimal autotune. ‘Loyalty’ gives ‘Back in uni’ a strong run for best song on the tape.

The next track is the stoner girls’ anthem interlude ‘She Like Igbo’ ending with a funny skit, glad to see Blaq move his IG comic antics to spice up his music too.

Blaq channels his inner Burna Boy on Tekno assisted ‘Ess Mama’ and a standout performance by Bien of Sauti Sol and Takura on ‘Mazoe.’ Oxlade’s Backups spice up the celebratory ‘Star Life,’ which also chronicles the lonely side of celebrity life.

Again preaching the sex-fiends gospel powered by a lack of genuine connections due to past trauma.

With perfect transitioning, Blaq ends the tracklist from where he started on trap/rap songs ‘Back on BS’ and ‘ I’d Be Waiting.’

‘Shorty told me love is the highest vibration I told her I disagree’ he raps on the former as he woes a girl to cheat on her man with him, situations have never been more artsy and romanticized, the mellow vibes transition into the acoustic outro, which leads to Asa’s ‘I’ll Be Waiting’ sampled unto Blaq rapping about his successes and taking dumps on rappers like a hobby.

‘I sold out MO park no rapper can do that,’ ‘three top 10s I did it solo,’ ‘when they want to drop they go on my page to find something to copy.’ Now that’s a flex.

Flexing on ladies, flexing on rappers. The album bows us out with a rags to riches skit of a voice presumably Emeka’s mother’s.

The risk to rap more and use beats that cannot be easily categorized into Afrobeats or Afropop, keeping the features mostly rappers, minimalism in lyrics and performance, trusting more in his vocal abilities than Autotune all paid off.

Few things like the lacklustre Tekno verse, shortlived Cheque verse unlike the last tape where Psycho YP, AQ etc gave him a run for his money and Blxckie‘ ostensibly out-of-theme verse set the album back from a solid 10/10 performance,

Young Preacher is not the banger-filled classic that the last tape was but is Blaqbonez in his most confident and rawest form, the lack of bangers one can say is on purpose as he also took the risk to leave ‘Commander‘ off the album, in an era where Fireboy used ‘Peru’ to stat pad streams for ‘Playboy’ and Ckay used ‘Love Nwantinti’ from 2019, with a thousand remixes to statpad streams for ‘Sad Romance.’

On ‘Young Preacher’ Blaq does not mirror the poetry of Fireboy, the melodies of Rema, the hums of Ckay, nor the falsetto of Oxlade (via Autotune). Instead he brings rap Blaqbonez into a marriage with Mr. Boombastic and gives us a ragga, Alte-inspired Afro-rap album that sounds fresh and unique enough for us to bear listening to the same theme from the last tape without burning out.

Kudos to Emeka for adding some psychological and emotional context to his hedonistic gospel. Time will tell how this one ages. Bravo. Take a bow Emeka.

PRODUCTION: 9

LYRICISM:9

FEATURES: 8

COHESION:9

TRANSITION: 9

STRONG POINTS: Blaq’s rapping, thematic cohesion, Lojay’s hook on ‘Whistle’, Blaq’s singing on ‘Loyalty’

WEAK POINTS: Cheque’s shortlived verse and Blackie’s verse on ‘Fake Nikes,’ Tekno on ‘Ess Mama’

BEST/ WORST SONG: Mazoe, Loyalty, Whistle/She Like Igbo

TOTAL: 8.9/10

VERDICT: A classic if it stands the test of time, a solid project, and an experimental success regardless.

AKA and Nadia Nakai Approach One-Year Anniversary

While waiting for his summer smash hit ‘Lemons (Lemonade)’ to rise to the top of the South African streaming and radio charts, finally surpassing K.O., Young Stunna, and Blxckie’s ‘Sete’ to claim the top spot, another milestone is around the corner for Kiernan as he and his girlfriend Nadia Nakai approach their one year anniversary.

The couple has been together since October last year, the relationship between both rappers came as a shock to many as Nadia Nakai achieved fame under the umbrella of Cassper Nyovest’s Family Tree Entertainment.

Cassper and AKA have been archrivals for the most part of their careers and it was quite awkward to fans that the first lady of Family Tree Nadia, would not only get involved with the enemy camp, let alone find love in the arms of Cassper’s arch-enemy immediately after her departure from Nyovest’s label.

Prior to dating Kiernan, Nadia was involved with Chicago, Illinois rapper Vic Mensa, during the South African stop of his African tour. The two dated for about two months before Mensa moved back to the states and there went yet another relationship for Bragga.

AKA on the other hand went through a sad phase as he lost his fiance and then soon-to-be wife on 11 April 2021. Anele ‘Nellie’ Tembe accidentally fell off a 1oth floor balcony and died just weeks before the wedding.

“I am in a fantastic place. Love is in the air. Nadia and I have been together for about a year and just enjoying each other,” said AKA. The award-winning rapper also stated that their relationship is set in stone because of music.

AKA said that music unites them the most as they are able to complement each other in their day-to-day work.

“Music always unites us. Both of us being both artists complement our relationship.” When it comes to music, AKA has been on a roll recently.

Following the release of Lemons (Lemonade) featuring Nasty C, AKA reminded the South African hip-hop community of what he is capable of after a brief absence from the scene. The rapper stated that he is excited about how the song has gained momentum in the game since it has become one of the most popular songs.

“Lemons (Lemonade) is arguably one of the most popular songs. Things are going well, it’s gaining momentum and I’m excited.” He said.

The rapper admitted that he is currently having a good time with music and the whole energy in hip-hop music.

“I’m feeling a brand-new breath of fresh air in the game, in hip-hop, music, and just my life in general,” during his interview with DRUM Magazine.

About him dating Nadia AKA had this to say,

Lucas Henshaw is a versatile writer and music blogger who has written countless reviews and blog posts for several big brands. Follow his work @Lucas Henshaw on Facebook, @lucas_9ja on Twitter and @Lucas Henshaw on Linkedin.

‘Sete’ Makes Way for ‘Lemons’ at Number 1 on the Radio Charts? AKA and Nota Disagree

After a ridiculous run at the top of all the streaming and radio charts in Mzansi, going double platinum in two months and hitting 8 million views on Youtube at the same time, K.O’s magnum opus single ‘Sete’ featuring Blxckie and Young Stunna seemed to have finally given way on the radio charts top spot to AKA and Nasty C’s ‘Lemons (Lemonade)’ track which has been trailing ‘Sete’ at #2 for weeks since it’s release. However, there has been some controversy surrounding this news.

While AKA took to Twitter to celebrate the milestone achievement being his first song to achieve this feat since ‘FREE.’ Controversial media figure Nota Baloyi went on Twitter to discredit AKA’s claims to having the country’s biggest song on Radio.

The music executive mentioned that AKA shared a radio chart that expired on Tuesday.

My wife has spent more weeks at #1 this decade that AKA, Black Motion & DJ Zinhle combined… It’s sad to see Kiernan making fake radio charts on Wednesday because he was #1 up to Tuesday & the chart is from Friday to Thursday each week, where he last topped the chart with FREE.” tweeted Nota.

https://twitter.com/akaworldwide/status/1580137338138931200

An official response from neither AKA nor the official radio chart body has surfaced since Baloyi made these claims.

Kene Himself Drops Bold New Single We Don’t Have Fun Anymore (WDHFA)

In a scene where many artists follow trends, Kene Himself is busy creating his own. Born in Port Harcourt and now based in Abuja, the rapper, singer, and producer grew up surrounded by instruments and endless sounds. But it was Hip-Hop’s raw edge that grabbed his attention early. By 11, he was writing rhymes; in university, he was making beats; and with the launch of Tunehouse Records, he positioned himself as more than just another name—he became a driving force in Nigeria’s new wave.

Building a Reputation for Experimentation

Kene’s catalog speaks volumes about his creativity. Projects like This is Totally Xperimental and Outlet showcased his fearless approach to sound, while singles like Village People, Bad Boy from Port Harcourt, Ogbono, and Runaway balanced Hip-Hop grit with Afropop bounce. His breakout moment came when Runaway caught the spotlight on CNN’s African Voices, and The Guardian Nigeria tagged him as an artist redefining what’s possible on the continent.

The Drop: We Don’t Have Fun Anymore (WDHFA)

Kene’s new single, We Don’t Have Fun Anymore (WDHFA), is a sharp reminder of why his music stands out. Mixing lyrical honesty with smooth, head-nodding production, the track captures the frustrations and realities of today’s culture while still keeping the vibe alive. It’s music you can turn up to, but it also lingers after the beat fades—something only an artist like Kene Himself can deliver.

More Than an Artist

What separates Kene from the pack is how much he brings to the table. He’s not just a rapper—he’s a singer, producer, engineer, and visual creative who thrives on independence. That freedom shows in his work, making each release not just a song, but a statement.

Is the Black & White EP Ovasabi’s Most Honest Project Yet? Rapper Reveals

I first sat down with Ovasabi two years ago, just after the release of his Book of Ovasabi EP. Back then, he was already showing hints of the dualities in his sound and personality — the street grit meeting introspective weight. Now, as he emerges with Black & White, I expected growth; what I found was a leap. In the intervening years, Ovasabi moved between continents (he’s based in New York now) and expanded his sonic palette.

This time, when we caught up, the conversation felt less like an interview and more like two old friends trading confessions over beats and verses. The stakes are higher now, and Black & White shows it. The EP blends contrasts—emotional highs and lows, light and dark, hope and despair—into a tight, raw package. Released amid strong buzz (especially for the lead single “I NEED THAT” which dropped August 2025) (Hiphop Africa), this is Ovasabi’s boldest move yet.

Without further delay, here’s our conversation.

Stream Black & White Here: https://linktr.ee/ovasabi


BigDan: The title Black & White is heavy with contrast. What pairs or tensions were you trying to unearth in naming it?

Ovasabi: Black and white is good and evil. Rich and poor. Life and death. Black and white. Truth and lies. Love and hate. You getting Black and White.


BigDan: Visually, in the cover and artwork, did you lean more toward white or black as the dominant aesthetic—and what message did that send?

 

Ovasabi: I have the ability to manifest every human behavior and character. I—guess I just tell the stories from both sides—because I know I can.


BigDan: “I NEED THAT” dropped ahead of the EP. How did its reception impact how you finished or even shaped the rest of Black & White?

Ovasabi: I NEED THAT did what needed to be done. Having an international feature, being in a different space of mind & life, in a different country and continent—thousands of streams, a strong video. It’s been received greatly.


BigDan: If there’s one song on Black & White that best mirrors your emotional state in 2025, which is it—and what was going through your head while making it?

Ovasabi: I love every song on Black & White. I’ve done a lot: rap, cyphers, covers, Book of Ovasabi. But I’m in a new vibe now—that’s why I call this wave Black & White. And I always put everything into my music.

Black & White EP Tracklist


BigDan: Vulnerability is key in an EP like this. Were there verses you almost cut because they felt too exposed?

Ovasabi: Yes—my verse on “Alone” (ft. Rostov & Gregrics). I rapped about my ex-girlfriend. That verse had been in me for a while—we broke up years ago in Lagos. But since this is Black & White, I got vulnerable and let it out.


BigDan: Who around you—producer, engineer, peer—helped you feel safe enough to go there in the studio?

Ovasabi: Just me. I like operating from my inner self. See, why do you think my name is Ovasabi?


BigDan: You’ve pushed boundaries before. How experimental did Black & White get? Did you ever think, “This might not make it, but I want it anyway”?

Ovasabi: Everything here is an experiment—golden. Nothing like the Ovasabi you used to. It is Black & White EP.


BigDan: Which producer pushed you hardest—and on which track did that pressure show?

Ovasabi: Kulcha was in heavy rotation on this project. Also Grndmstr, Erizbeat—they’re among the best in Lagos. Even though I’m in New York, I love working with them.


BigDan: On “Alone”, there’s a moment when the intro flips in a surprising way. Did an engineer’s suggestion reshape that track?

Ovasabi: Yes—Erizbeat. The way he flipped the intro is magical. That change gave the song another depth. We poured hearts and emotions into it.


BigDan: A&R is often behind the scenes. Did your A&R push you to write differently, pick tracks, or sequence this EP in a particular way?

Ovasabi: Sleem Jim is the best. He shaped this project from start to finish. If you listened to Book of Ovasabi, you’d see his influence. He made sure tracks like “Calling” and “Cheerful Giver” found their place.


BigDan: Did any unexpected collaborator show up and bend the sound in a direction you hadn’t planned?

Ovasabi: Yes—Stephanie Milostic from Australia. Plus Gregrics, Rostov on “Alone”—energies colliding in the best way. That song brought us together.


BigDan: How did you assemble your team—producers, engineers, co-writers? What qualities mattered most?

Ovasabi: I like self-driven people, those who dare, who are ready to fail and try again, who pour heart into their art. Thank God that’s what we got.


BigDan: In any track, did you try to merge “white” and “black” — sonically or thematically—so they coexist rather than oppose?

Ovasabi: Black & White is itself that merge—expressed through rhymes and rhythms. You’ll understand when you listen.


BigDan: Given the cultural weight of “black” and “white” — identity, perception, balance—was there intention for social commentary?

Ovasabi: It’s not about color. It’s about words, lyrics, energy, rhythms. An image, an experience, a flow.


BigDan: If you had to perform one track in an empty room—just you and a mic—which would you pick, and how would you deliver it differently?

Ovasabi: All of them. Every track matters. In that raw space, I’d let the emotions breathe, strip production back, let the voice carry.


BigDan: On the more experimental pieces—who was behind the boards, and how much was you vs their suggestions?

Ovasabi: Sleem Jim was involved deeply. Our ideas met theirs and shaped many moments.


BigDan: Since the EP just dropped, what feedback has already hit you in a surprising way?

Ovasabi: Honestly, it’s still early days. I’m watching, listening, absorbing.


BigDan: Do you feel Black & White marks a turning point—for sound, career, opportunities going forward?

Ovasabi: Yes. I believe great things are ahead. But I leave that in God’s hands.


BigDan: If there were a sequel—Black & White II—what emotional ground or themes would you explore next?

Ovasabi: Let’s enjoy this one first. Please, listen to Black & White EP.


Afterword

Chatting with Ovasabi again felt like revisiting a chapter in progress. The boy from the Delta and Lagos, now stretching his voice across New York and beyond, is no longer content to just echo — he’s shaping. In Black & White, he becomes a bridge between extremes: light and dark, hope and despair, vulnerability and strength. He invites you in, not to pick a side, but to feel the tension, the balance, and the in-between.

We talked sonics, tears, studio late nights, and the fear that a song may be too open. But Ovasabi leaned in anyway. In doing so, he’s given his most vivid work yet.

If you’ve followed our earlier dialogues, you’ll see how far he’s stretched—and yet you’ll hear the core still intact: that fierce, unfiltered voice.


 Booking & Inquiries
Email: sleemjim77@gmail.com
Phone / WhatsApp: +2349055532285


Connect With The Artist:

Twitter: @ovasabiofficial

Instagram: @ovasabiofficial_

KooKusi Uses Hip-Hop as Science Communication to Redefine Disability with “This Ability”

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New 4-Track Project Addresses Disability Stigma Through An Artistic Biography of Ghanaian basketball star Emmanuel “Clock” Amoako

Multifaceted US-based Ghanaian rapper, science communicator, and researcher Nana Kofi Kusi-Boadum (KooKusi) has released his latest body of work, “This Ability“, his third solo and fourth overall project. Known for tackling deeply personal and socially pressing themes through music, poetry, and film, KooKusi once again delivers a thoughtful and compelling narrative that connects art, science, and advocacy.

Since introducing himself with “5foot3in 2022, KooKusi has crafted projects that give voice to hidden psychological struggles, from inferiority complex to fear and addiction. Each release has built on the idea of confronting what he calls “5foot3s”; the personal challenges and shortcomings that quietly shape people’s lives. With “This Ability, he shifts the focus to disability, using music to amplify a story that deserves to be heard.

The project is inspired by Emmanuel “Clock” Ekow Amoako, a Ghanaian basketball player, coach, entrepreneur, and creative worth celebrating who has lived with anisomelia, a limb length discrepancy. Despite the challenges of his condition, Clock has excelled in competitive sports, co-founded teams, built “Clockwork brand”, and inspired many through leadership and perseverance. In addition to Dilys MaxVoy’s documentary “13:12 – Make the Clock Work” that shares Clock’s journey, KooKusi retells it here in a uniquely personal way, through the eyes of someone who once struggled with self-doubt and found confidence by witnessing Clock’s resilience.

Through “This Ability”, KooKusi frames Clock’s journey as more than a personal triumph but an essential and universal message of strength in the face of stigma and doubt.

Across its four songs, This Ability weaves hip-hop, spoken word, snippets from an interview, and choral arrangements into a powerful narrative. The project opens with an emotional choral rendering of KooKusi’s first encounter with Clock grounded in 2 Corinthians 12:8–9. The choral record features Felix Adusei, Michael Adjaloo and the Great Family choir. 

The story then moves through the battles beneath victories and a fiery spoken-word tribute by executive producer, Li Diaw to a decisive moment in Clock’s career. It is followed by Clock’s own voice from a Full Circl interview with Reginald Amaah, bringing raw authenticity and emotional depth, before closing with a full hip-hop version of the opening track, this time from a triumphant perspective, bringing the journey full circle. 

The closer features Notse, with additional vocals from Kiki Celine. This body of work was produced by Rdeebeatz, Christoven, and Epidemix. To drive the message home even stronger, Kookusi collaborated and co-directed with film makers Baffour Kyem, Victor Morgan, Dilys MaxVoy and her Take it to the Max crew, to make visuals for each record so that the project is released as one big docuseries. 

At its core, “This Ability” carries a mission and that is to challenge stereotypes, celebrate strength, and inspire both people living with disability and anyone facing their own limitations. It dismantles the bias that often surrounds disability by showcasing Clock’s achievements, while encouraging others to see challenges not as defining traits but as opportunities for growth.

For KooKusi, this project is as much personal as it is cultural. It honours a national figure while continuing his artistic commitment to scientific communication, addressing mental health in the most relatable stories. “This Ability” transforms disability into a narrative of power, proving that greatness can emerge from the very places society misjudges as weakness.

“This Ability” is available now on all major streaming platforms.

About the Heroes:

KooKusi (Nana Kofi Kusi-Boadum) is a Texas-based Ghanaian storytelling rapper and neuroscience researcher known for conceptual projects that address mental health and social issues. His scientific communication endeavors combine artistic expression with mental health advocacy, particularly within African communities where such topics often carry stigma.
Emmanuel “Clock” Ekow Amoako is a Ghanaian basketball player, coach, entrepreneur, CEO of Clockwork brand, and disability advocate. His achievements include multiple championship victories, team leadership roles, and business success, all accomplished while managing the physical challenges of anisomelia.

Amplify Ghana Launches Rap Cypher Series with KNUST Edition

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Ghanaian creative promotion agency Amplify Ghana has officially released its debut music project, the KNUST Rap Cypher, now available on all major digital streaming platforms.

The KNUST Rap Cypher is the first installment of Amplify Ghana’s campus rap cypher tour, an initiative launched in July 2025 to spotlight rising rap talent from universities across the country. The tour kicked off at Kwame Nkrumah University of Science and Technology (KNUST), where standout students were selected to showcase their lyrical skills.

The first edition, KNUST Rap Cypher Pt. 1, featured performances from Afrodanny, MC Doe, AC40, and Riley D’Menace, with the video dropping on YouTube in September. A few weeks later, the video for KNUST Rap Cypher Pt. 2 was released, spotlighting ZXEUS, Kimathi, Jungler, Kheywords, and BDT Kay Kay. Now, the audios for both cyphers are officially available for streaming, giving fans and new listeners the chance to experience the raw talent emerging from Ghana’s next generation of rappers.

Both parts of the cypher were produced by Dab Beatz (Beeztrap KOTM, Amos K, Jaden Heights). Pt. 1 was mixed and mastered by 85 Savage, while Pt. 2 was handled by Kodwo Amos, ensuring the project delivers polished and high-quality sound.

This milestone marks Amplify Ghana’s first official music release, signaling the beginning of more collaborations with artists locally and internationally. The agency, known for promoting young creatives and undiscovered talent, plans to expand the rap cypher series to other universities in the coming months.

Lolli Native Returns with Sophomore Album Amandla 

Cape Town-born rapper Lolli Native has released his highly anticipated sophomore album Amandla, a bold statement of resilience, prayer, and gratitude. Following the success of his debut Ivangeli, Lolli cements his place as one of South Africa’s most authentic voices, representing both the streets that raised him and the broader African story. The 10-track project blends street rap, kwaito-hop energy, and soulful collaborations into a soundscape that is both rooted and forward-looking. Each track tells a story of perseverance, community, and faith. 

Amandla features heavyweight collaborators including ATM, Emtee, Anzo, Bugzito, Phila Madlingozi, 25K, Jay Claude, Yamke, and Lerato Lichaba, with production by Masta BC, Young2unnBeats, Rillo, Eno Da Cooldude, Jay Smash x Fzeikk, and Tru Hitz. Highlights include the prayerful “Amandla” (feat. ATM), the triumphant “Guess Who’s Back” (feat. Emtee), the hard-hitting “Bad Man” (feat. 25K & Jay Claude), and the soulful “Too Late” (feat. Phila Madlingozi).

Speaking about the album, Lolli Native shares: 

“Amandla is named after my sister, who has been my rock. While working on the album, I realised it’s also a thank you to everyone who has held me down — my family, my community, and my faith. This album is about strength, belief, and appreciation.” 

Lolli Native

With Amandla, Lolli Native delivers more than music — he delivers a testament to resilience and the power of dreams. Amandla is out now on all DSPs. Listen here: www.lollinative.com 






 







Imp Tha Don Makes his Mark With Debut Album- A DON’S TESTIMONY

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Hip-Hop artist I.M.P THA DON is set to make his mark on the music industry with the release of his debut album “A DON’S TESTIMONY: THA  ALBUM,” This highly anticipated project which follows two body of works prior, “Money Power Respect” (2021) and “CHAMPION SPIRITBANGERS BEFORE THA ALBUM”(2023), showcases the artist’s versatility and vision through an innovative blend of hip-hop styles that create a cohesive and compelling musical narrative. 

“A DON’S TESTIMONY: THA ALBUM” represents more than just a collection of songs – it’s a  testament to artistic growth, collaboration, and the diverse possibilities within hip-hop music. The  album demonstrates I.M.P THA DON’s ability to seamlessly weave together different sonic  textures while maintaining his authentic voice and perspective. 

The project features an impressive roster of talented artists and producers including KSoul_RSA,  MashBeatz, Lehandrobeatz, Sundaebeats, Trophy, Tyson Sybatelli, ArTEE, and Ghoust Trvpbully to name a few, with each artist bringing their unique style and energy to create a dynamic listening  experience. Executively produced by KSoul and I.M.P THA DON himself, the album reflects a  hands-on approach to creative control and artistic vision. This combination of artistic leadership  and experienced industry insight has resulted in a polished, professional debut that positions I.M.P  THA DON as an artist to watch. 

The diverse range of hip-hop styles explored throughout the album demonstrates I.M.P THA  DON’s versatility as an artist and his deep understanding of the genre’s rich history and evolving landscape. From hard-hitting beats to melodic flows, “A DON’S TESTIMONY: THA ALBUM”  offers something for every hip-hop enthusiast while maintaining a consistent artistic vision.

Cameroonian Rapper Kicka Release New EP CODED

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Releasing his first solo project under his new record label Makata Street Music, Cameroonian rapper Kicka unleash CODED Inspired by Cameroonian rappers like Jovi, Mic Monsta, Krotal and more, this EP brings a mixture of story telling and club bangers, over trap beats and drill beats, it’s easy for everyone to find what they like from this small piece of art.

Why CODED? Simply because in the hip-hop rap culture, rappers say things in a coded way, that requires some level of understanding to decode it, usually street knowledge.

KICKA

Rhapstar OTP Teams Up with King Rapsodi and IPreach Gospel on Explosive New Single “Secure The Bag”

Nigerian hip-hop trailblazer Rhapstar OTP is back, and this time he’s making a bold statement. His latest release, “Secure The Bag,” featuring rap powerhouse King Rapsodi and lyrical preacher IPreach Gospel, is a hard-hitting anthem that blends motivational energy, raw lyricism, and undeniable street credibility.

“Secure The Bag” is more than just a song — it’s a declaration of ambition and perseverance. Backed by a gritty, bass-heavy beat layered with Afro-fusion elements, the track captures the hustle spirit of today’s generation while showcasing the unique artistry of each collaborator. Rhapstar OTP delivers razor-sharp verses with his signature smooth flow, while King Rapsodi brings a punchy, confident edge. IPreach Gospel rounds out the track with a thought-provoking and spiritually charged delivery, offering a powerful message about grinding with purpose.

This collaboration marks a significant milestone in Rhapstar OTP’s career, as it bridges diverse voices and styles to create a record that resonates with audiences across hip-hop, gospel-rap, and Afro-fusion genres. The chemistry between all three artists is undeniable, resulting in a track that feels fresh, authentic, and anthemic.

For Rhapstar OTP, “Secure The Bag” is a testament to his growth as both an artist and CEO of Only The People Involved Entertainment (OTPIE). The song reflects his commitment to telling real stories, uplifting his community, and inspiring listeners to chase their dreams relentlessly.

“‘Secure The Bag’ is for every dreamer, every hustler, every believer,” Rhapstar OTP explains. “It’s about fighting for your purpose, staying focused, and never giving up on what’s yours.”

With its infectious hook, crisp production, and dynamic lyrical performance, “Secure The Bag” is primed to become a playlist favorite and a motivational anthem for fans worldwide.

AC$ENT — Port Harcourt’s New Afrotrap Problem

Port Harcourt’s streets have a new voice loud enough to cut through the noise. AC$ENT moves like a lived-in story — equal parts grime grit and Naija swagger — spitting in English, pidgin and local cadence so the lines land like testimony. He doesn’t sound like what’s already on the radio; he sounds like what’s actually happening on the corner, in the backrooms and in the hustle. That rawness is his currency, and listeners are cashing in.

Rooted in the streets

AC$ENT’s bars read like field notes from his city: slang, hustle, small mercies and big headaches. He rides hypnotic, head-nodding beats but never forgets to tell a story — the kind that smells like diesel and wet tar, that carries both humour and warning. Whether he’s leaning into a grime cadence or switching into Afrotrap swing, he keeps authenticity at the front of every take. Freestyles bleed into final versions; nothing feels manufactured.

Sonic identity: grime x Naija trap

His sound is a collision — brittle UK-inflected flows and West African rhythm, braided with Afro-fusion’s melodic pull. Imagine stark percussion, sudden melodic hooks and a delivery that can be sneering one bar and confessional the next. Influences are audible but filtered: the cadence of Skepta, the audacity of Lancey Foux and the melodic instincts of Wizkid — remixed through Port Harcourt’s particular texture.

New single — “WEREY”

“WEREY” is a street anthem that doubles as a survival manual. The beat is hypnotic, the hook sneaks up on you and the verses are shorthand for keeping your head down and your hustle sharp. It’s both a warning and a flex: don’t get played, don’t fold under pressure. The upcoming video promises a gritty cinematic take — think low-light cityscapes, quick cuts, and close-ups that let you watch the story happen.

What’s next

AC$ENT’s not after quick likes; he’s building a lane. More drops are on the way, but the aim is steady growth — bigger audiences without selling the story. He’s documenting a generation that speaks bluntly and moves fast, and he’s doing it in the language of the streets.

Ish Kevin Inks deal with UMG EA

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The Drill Rap star from Rwanda starts a new chapter with the World Leading Music imprint

Universal Music Group East Africa (UMG EA) announces the  signing of prolific Rwandese rapper, songwriter and producer Ish Kevin. This deal brings forth new opportunities for Rwanda’s creme de la creme Hip Hop maverick Ish Kevin joining forces to create commercially successful  music and go far beyond the framework in the global music industry.

Sharing his excitement on the new deal he penned with Universal Music Group EA, Ish noted that this was a monumental move for the culture and his homeland , Rwanda.

“Signing to UMG is a big step not just for me, but for the culture. It means our sound, our stories, and our energy are now on a global stage. It’s proof that African voices especially from Rwanda belong in the world conversation” he mentioned.

Ish Kevin

Speaking on the latest signee, UMG EA General Manager Chinasa Udeala shared.

I’m incredibly proud to welcome Rwandan hip-hop star Ish Kevin to UMG East Africa. His authenticity resonates deeply with the youth, making him a major voice in the country’s urban music scene. This is a major milestone for East African hip-hop and  music from Rwanda in general. Partnering with UMG East Africa, Ish is ready to share his undeniable talent with the world.

Chinasa Udeala

Ish’s transcendental rise in the music industry began in 2021 with breakout singles such as “Amakosi” and “No Cap” , the latter featured among ‘7 Hard Drill Tracks from around The World’ by major Urban music UK platform , GRM Daily. Ish has solidified his basking reputation as a multilingual emcee , fluent in English, Swahili, French and his native – Kinyarwanda. Pronounced as one of the faces of the new generation of Rwandese artists, Ish is convicted to push boundaries and springboard the Rwandan sound to a global stage.

“I’ve always believed in pushing boundaries. The inspiration to sign with UMG came from wanting to take what we’ve been building locally and share it with the world, while still staying true to where I come from” he mentions.

“Expect bigger collaborations, more powerful storytelling, and music that connects beyond borders. It’s about growth, but also about putting Rwanda and East Africa on the map in a new way” Ish reaffirms his ambitions.

Following the success of his debut LP ‘Blood , Sweat and Tears’ , Ish is ready to charge into the spotlight with exciting new projects already lined up following this incredible milestone.

About Ish Kevin

Ish Kevin (born 1997), also known as Semana Kevin( His real Name), is a Rwandan rapper, songwriter, and entrepreneur who has emerged as a leading figure in East Africa’s contemporary hip-hop and drill scenes. He is the founder of Trappish Music, a label and movement that champions a new generation of Rwandan artists blending trap, drill, and traditional sounds with multilingual lyricism in Kinyarwanda, English, French, and Swahili.

Initially associated with the Kinyatrap movement, Ish Kevin later established his own path with Trappish Music, emphasizing themes of ambition, youth empowerment, and celebration over the gritty street narratives of his predecessors. His breakout single “Amakosi” (2021) and the high-energy track “No Cap” both garnered over a million views, with the latter earning recognition from GRM Daily as one of the “7 Hard Drill Tracks from Around the World.

In 2023, Ish Kevin released his acclaimed album BST (Blood, Sweat & Tears), which fused modern drill with traditional Rwandan elements, including samples of Kwivuga vocals and the Inanga instrument. The following year, he dropped the introspective EP Semana, which explored personal growth and artistic ambition. His 2025 single “Africa Rise” further solidified his reputation as a pan-African voice, celebrating unity, resilience, and cultural pride.

Recognized by The Native as one of Africa’s top 12 rappers in 2021, Ish Kevin continues to shape Rwanda’s hip- hop landscape through his music, collaborations, and mentorship of emerging artists.

As of July , 2025, Ish Kevin has officially signed with Universal Music Kenya (UMG Kenya) a major regional label under Universal Music Group. His debut single with them, “Gutsinda II”, was released on that date and is distributed by Universal Music Kenya Limited.