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

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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.

FALZ IS BAHDLY UNPREDICTABLE ON FIFTH ALBUM

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.

In Honour of Abaga’s Tenth Project, We Ranked The 20 Best Songs From ‘The Guy’s’ Catalogue.

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

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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.

AKA Teases Nadia Nakai About Vic Mensa.

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

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‘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.

‘Sete Making my Life Hard’ Says AKA About K.O’s Smash Hit.

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.

Eswatini’s First Ever Female Hip Hop DJ and Producer, WassaBee releases her first single titled “For the Kulture”

Milliswa Vilane
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Eswatini’s First Ever Female Hip Hop DJ and Producer, WassaBee releases her first single titled “For the Kulture”

Hip hop has always been a stage brimming with masculine energy. For decades, women have had to elbow their way into the spotlight, often measured by standards set by their male counterparts. “Too feminine.” “Too soft.” “Too sexual.” These are just a handful of the critiques that women in hip hop worldwide have faced while carving out their space in a genre that demands resilience. Yet, over time, the culture has started to evolve, becoming more inclusive of women who have shattered ceilings and stereotypes to make the genre their own. Against all odds, women have continually broken barriers, proving that rap is not just a man’s sport.


From global icons like Nicki Minaj, Megan Thee Stallion, and Rapsody to new wave stars like Ice Spice, Doja Cat, and GloRilla, women have taken charge, redefining the narrative and the culture. Closer to home, African women like Oriiginelle, Dee Koala, ZuluMecca, and K.Keed are inspiring a new wave of girls who see themselves as active participants in hip hop—not just consumers. As a fan of the genre, seeing women thrive in this space, especially African women, makes hip hop feel even more personal and inclusive.


But hip hop isn’t just about those behind the mic. Women like Eattz, Banyezus, and Lady Kuda, Tummie Letsapo—and yes, myself—are taking the reins as tastemakers, publicists, and advocates for African hip hop, proving that influence doesn’t always come from center stage. Together, these women are challenging the norm and paving the way for others. Here in Eswatini, I take pride in being one of those voices, ensuring the culture is not only celebrated but respected.


In Eswatini, a new revolution is brewing. Women are stepping into the hip hop scene with intention, reclaiming their place in a genre that’s long been ruled by men. Artists like Oriiginelle, Ima Crystals, and Milkie The Don are pushing the boundaries, unapologetically crafting their own lanes. And then there’s WassaBee, Eswatini’s first female hip hop DJ, who has not only taken the decks by storm but is now venturing into creating music herself.

What sets WassaBee apart is the enigma that she has cultivated around her persona. With her signature balaclava- either black or pink- firmly in place during public appearances and performances, she embodies the “faceless mystique” , letting her craft speak more than appearances ever could. This anonymity has become her trademark, adding an air of intrigue that keeps fans and audiences captivated.

WASSABEE – Supplied


When I first met WassaBee in April this year, I was thrilled. Here was a woman unapologetically killing it as a hip hop DJ, holding her own at major stages like MTN Bushfire and Luju Festival, and beyond our borders such as in the Mpumalanga Spring Fest early in the year. Her consistency and determination were inspiring. And now, with the release of her debut single For The Kulture, she’s breaking yet another barrier in the local hip hop scene.



WassaBee’s debut single, For The Kulture, dropped on December 20, 2024, . Featuring the charismatic and multi-talented Ace Julz, this song is a statement that boldly declares that spinning isn’t only a male’s playground, even women have a place in production and on the decks. WassaBee calls it “a sonic embodiment of my love for hip hop,” blending elements of unity, storytelling, and ambition with sleek production and raw energy. The song’s production is driven by a trap beat that demands listeners to move to its rhythm. It is the kind of song that could make anyone want to break out and krump( yes, it’s still a thing.)


“This track represents everything I love about the culture,” WassaBee says. “From drip and bars to success and influence, it’s a sound that says, ‘I’m here to elevate, motivate, and stay.’” The single expresses how cultured the DJ/Producer is as she is in touch with all elements of Hip Hop culture such as Djing, Mcing, Beatboxing, Dance and fashion. WassaBee’s involvement in every layer of culture is evident. From her presence at Ima Crystals’ listening session earlier this month, to collaborations with rising stars, she is proving herself as a participant and leader in Eswatini’s hip hop community.

FOR THE CULTURE COVER ART


What’s particularly special about this release is WassaBee’s choice to collaborate with Ace Julz, a young and emerging artist in Eswatini’s hip hop scene. As a DJ, WassaBee isn’t just spinning tracks but she’s shaping the culture and introducing audiences to fresh talent. DJs are tastemakers, the curators of what we listen to next, and WassaBee’s decision to spotlight Ace Julz speaks volumes about her dedication to nurturing the scene and highlighting its rising stars. “Ace Julz is one of the most talented artists I know,” WassaBee shares. “His storytelling and versatility inspired me to push boundaries. Working with him was the perfect way to bring this vision to life.”

Listen to For The Kulture Here


WassaBee has done her research quite well, crafting an infectious song that has potential to dominate the airwaves as well as the dance floor. With a catchy hook, that is meant to have everyone chanting “For The Kulture( Mswenko) for days on end. The song promises to resonate with everyone as it blends local hip hop slang with both Siswati and English.

WassaBee’s journey is a reminder of what’s possible when women step into spaces they’ve traditionally been excluded from. But there’s still so much room to grow. Eswatini needs more women in hip hop—not just as DJs and rappers, but as producers, tastemakers, and architects of the culture.


For now, the scene is shifting, thanks to pioneers like WassaBee. As women continue to rise in Eswatini’s hip hop scene, one thing is clear: the future of hip hop here is bold, diverse, and unapologetically female.

WASSABEE- Supplied


Connect with WassaBee:

INSTAGRAM: @wassabeethedj
TWITTER: @wassabeethedj
TIK-TOK: @wassabeethedj



KHUKHUMELE: THE “CASH TALK” BANGER BY LOWFEYE AND LACABRA

Milliswa Vilane
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KHUKHUMELE: THE “CASH TALK” BANGER BY LOWFEYE AND LACABRA

When Lowfeye began teasing his fresh-off-the-block single, Khukhumele, in early December, I knew right away it would become an anthem I’d shamelessly overplay. Khukhumele is a scorching collaboration between Lowfeye and LaCabra, produced by the ever-talented Brotherkupa. And how many times have I played it since its release? Easily more than twenty. Just last week, I caught myself replaying his Instagram reels over ten times and visiting his Twitter(X) page a just as much—dedication, or perhaps borderline stalker behavior.


On December 20th, 2024, Khukhumele finally dropped—perfect timing, as December bonuses are rolling in (big “Ekhikhini” vibes, for real). And the single didn’t land solo but was accompanied by a sleek and visually captivating music video, directed, shot and edited by Phila Vilakazi of Saucinthacitii visuals. The track is all about “cash talk” and “flex culture”, celebrating a life of luxury and swagger, with Lowfeye and LaCabra trading verses that reflect their larger-than-life personas. It’s a toast to fat wallets, sharp bars, and the lavish high life that has elevated the Qwellers from hometown heroes to household names across Mzansi and beyond.

Lowfeye & LaCabra- Khukhumele Official Music Video





Pure class—this is the only way to describe uMabulala’s( Lowfeye’s) verse. Gems like “Might just get a visa nghlezi ngisemafini” reminds us of the heights his music has taken him—always catching flights and never settling. But my personal favorite? “Pheykwe Gagasi like durag,” a clever line that translates to “above the waves like a durag.” He takes it a step further, flaunting his impeccable style and paying homage to his roots. He raps about the Zulu sandal, Omega shoes, now synonymous with his brand identity, alongside his signature Zulu headwear, umqhele. “This ain’t no regular sandal—Omega, it cost a fortune, I wear it forever,” he proclaims. Pure cultural drip. LaCabra delivers his verse with infectious energy, lighting up the hook as he boasts about the doors money has opened for him. From effortlessly pulling women to taking down rappers like dominos, it’s all unapologetic “cash talk.” His flex continues with “Bite on my sauce, they got no swag,” cementing his signature braggadocious flair.



At its core, Khukhumele is a trap anthem infused with psychedelic minimalism, masterfully crafted by Brotherkupa. The producer, whose Gqom Freestyle has been dominating TikTok and reviving Skhothane culture, is a sonic visionary. You can almost imagine the track as a rallying cry for DJs to light up dancefloors across South Ahh and beyond. And this isn’t Brotherkupa’s first rodeo—he also produced the recently released Sunroof by Blxckie, Lowfeye, and LaCabra, solidifying his unique niche of blending trap, gqom, and psychedelic sounds. It’s a style reminiscent of Witness The Funk’s Nomusa era, but with a fresh twist that’s undeniably his own.


So turn up the volume, hit repeat, and let Khukhumele carry you through the festive season. Who knows, your pockets might still be fat even in Janu-Worry.


STREAM KHUKHUMELE HERE: https://africori.to/khukhumele




5 Times Loatinover Pounds Proved That He Is the 2024 MVP

Milliswa Vilane
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5 Times Loatinover Pounds Proved That He Is the 2024 MVP

The perfect assist exists, not just in soccer but in music too. In soccer, fans rave about Kevin De Bruyne threading the needle, Mohammed Salah’s game-changing passes, or how one precise assist can shift the course of a match and raise the stakes. In South African hip-hop, the perfect assist belongs to none other than Pitori’s very own Loatinover Pounds. This year, he has proven to be the ultimate feature artist—the one guest who can take a track from great to legendary.


Not only did Loatinover Pounds steal the shine on his guest verses this year, but the hip hop artist also delivered an incredibly crafted album titled “Pray 4 Pitori”, an album that showcased his lyrical abilities, storytelling as well as production skills. From deft wordplay to cultural references that resonate deeply, Pounds has repeatedly proven why he deserves the MVP title. Here are five moments where Loatinover Pounds stole the spotlight and reminded us why he is 2024’s undisputed MVP.


5. “Uthini Lo” – DJ Sliqe, K.Keed, Votron, Orish
Sometimes less is more, and that’s exactly what Loatinover Pounds delivered on Uthini Lo. The “Sosh Plata” hitmaker kicks things off with a verse that is equal parts punchy and unforgettable. He opens with a vivid WWE-inspired reference:
“Undertaker all bleke kere beat re theosa,”
declaring himself as lethal as the iconic Undertaker—dressed in black and ready to “bury” the beat. But he doesn’t stop there. He sharpens the imagery with:
“Okare lekase ko Avbob (Ke Leso),”
a clever nod to Avbob, South Africa’s leading funeral service provider, implying his verse is so deadly that someone should start planning a funeral.
Loatinover Pounds even gives DJ Sliqe a shout-out:
“Pounds le Sliqe re namela beat kannete rebethile 1-0 (Champion Score),”
hinting at their domination of the track and slyly referencing Sliqe’s Champion Sound series. Through layered punchlines, clever wordplay, and Pretorian street culture, Loatinover Pounds proves that he can turn a few bars into a memorable performance.


4. “Mosamelo” – DJ Clen
On Mosamelo, Loatinover Pounds seamlessly blends confidence with storytelling. Michael Tuoy’s smooth production gives him the perfect platform to shine, and Pounds doesn’t miss the moment.
The song’s title, Mosamelo (Pillow), frames a tale of a woman seeking his attention. But here’s the twist: this woman once ignored him but is now reaching out after spotting him on Channel O. Pounds cheekily dismisses her newfound interest and instead reflects on how far he’s come:
“I perform on stages bigger than my kitchen now,”
he raps, with swagger only a hometown hero can deliver.
In classic underdog-to-victor fashion, Pounds reminds us of those who laughed at his dreams and are now asking for tickets to his shows. Through a mix of introspection and braggadocio, Mosamelo captures his journey while setting the tone for even greater achievements to come.


3. “Ke Tech” – G Tech 2Bit, Loatinover Pounds, Mochen
The Pitori Avengers, hailing from the streets of Mabopane : G Tech 2Bit, Mochen, and Loatinover Pounds join forces on “Ke Tech” to deliver an anthem brimming with Pitori pride. Each artist holds their ground, but it’s Loatinover Pounds’ verse that stands out, thanks to his razor-sharp punchlines and endless creativity.
What’s a Pounds verse without a soccer metaphor? He kicks it off with a nod to Luis Suárez’s infamous 2014 FIFA World Cup biting incident:
“Rappers biting my flows like Chiellini,”
likening himself to Giorgio Chiellini, the Italian defender who was bitten by Suárez.
He follows it up with more soccer brilliance, calling himself a “number 9,” the striker who leads the team to victory. Then comes the pièce de résistance:
“Skin, link, ink, sync, pink,”
a cascade of rhymes that showcases his literary finesse.
As if that weren’t enough, Pounds caps it off with a playful Disney reference:
“Sliding on the beat like Zeke and Luther,”
a nod to the skateboarding duo from the Disney series. From sports to pop culture, Pounds weaves together his influences, proving that inspiration truly knows no bounds.


2. “Big Dogg” – Thato Saul & Flow Jones Jnr
When Thato Saul declared his comeback on Big Dogg, Loatinover Pounds was right there to back him up, delivering a verse packed with clever wordplay, humor, and swagger. Take this standout line:
“Legends Barber ka Pene joh, kira di line di fete mo hodima di thlolo,”
where Pounds compares his precision with a pen to that of a barber’s clippers, highlighting his mastery over his craft. He turns up the humor with:
“Patje e phela e loud kare Ghost Hlubi a pranka-a ha tau,”
comparing the potency of his weed to the loud pranks of Ghost Hlubi, the popular South African content creator.

True to form, Pounds peppers his verse with local South African soapie references, including a shout-out to KK from Muvhango and a shout out to Suffocate from Rhythm City:
“Pounds ke Star, wa shine, o phala di suit tsa KK (Mulaudzi),”
boasting that he shines brighter than KK’s flashy suits.
“I brought the Rhythm to the City but when I get on the mic I don’t suffocate”

highlighting his ability to flow with ease and composure.
It’s this mix of relatability, humor, and razor-sharp wit that makes Big Dogg one of Pounds’ most memorable assists.


1. “The Untouchables” – 25K & Flow Jones Jnr
This is it—the crown jewel of Loatinover Pounds’ 2024 guest verses. On The Untouchables, from 25K’s album Loyal To The Plug: The Life of Don Kilograms, Pounds delivers a verse so sharp, so fresh, that it leaves no doubt about his MVP status.
He kicks off with effortless swag:
“Air force e white Ntash, Straight from the box starch,”
bragging about his pristine fashion sense before hilariously comparing his oversized baggy jeans to South African politician Gwede Mantashe’s signature look.
“Bethile jean ka oversize okare ke Gwede Mantashe (Eish)”
And, of course, no Pounds verse would be complete without sports metaphors. He references Olympic athlete Shyna Mabelo and the unforgettable 2018 UEFA Champions League final:
“Geo Salah ro nametsa stretcher, Ramos ka Final ya UEFA,”
signaling his ability to leave rappers in disarray, just like Ramos did to Salah.
This verse has everything: local slang, pop culture, football references, and impeccable flow. It’s the kind of performance that reminds us why Loatinover Pounds is untouchable.

Loatinover Pounds has had an electrifying year, proving time and again why he’s 2024’s MVP. He made appearances on Injayam Vol 3, Loyal To The Plug, All Doggs Go To Heaven, Too Viral, Survivor’s Guilt and most recently Maglera Tapes just to name a few. From cultural punchlines to football metaphors, he’s a master of blending wit, creativity, and authenticity. The MVP crown fits perfectly on Pitori’s finest. Long live the MVP. Re Faka Punyete.

SiphoMjita’s Brand New Me : A colourful ode to rebirth and growth

Milliswa Vilane
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SiphoMjita’s Brand New Me : A colourful ode to rebirth and growth

Hailing from the vibrant streets of Umlazi, DJ and producer SiphoMjita (Sipho Mkize) graces us with a soul-stirring anthem, “Brand New Me,” released on November 29, 2024. The track is a luminous collaboration with AYON (Ayanda Mfeka), a rising star who has painted 2024 with her remarkable talent, climbing to the Top 4 of Sportscene’s celebrated rap competition, “Sportscene Put Me On.”


“Brand New Me” is a celebration, a sonnet of self-renewal, and a rhythm-laden ode to growth. The synergy between SiphoMjita and AYON breathes life into a drill-inspired, soulful beat that radiates positivity and transformation. The track blooms with the vibrancy of spring, brimming with the optimism of new chapters and the promise of brighter horizons. It is a song that doesn’t just move you but blossoms in your soul.



SiphoMjita’s talent transcends the decks. Beyond being a producer and DJ, he curates sonic landscapes, crafting playlists like “The Hip Hop Chamber,” a treasure trove for music lovers and a platform for unearthing hidden gems. It was through this passion for curation that SiphoMjita first discovered AYON’s sound ; a voice that resonated deeply, sparking a creative connection. Their shared journey blossomed when SiphoMjita, alongside tastemaker Eatzz, curated the KZN WAVE playlist, showcasing the best of Durban’s rising stars, including AYON herself.




When SiphoMjita sent AYON the beat for “Brand New Me,” it was as if the stars aligned. AYON’s response was swift and electric, a demo that carried the heart of the song, ready to soar. “‘Brand New Me’ represents change and new beginnings,” SiphoMjita reflects. “I’m thrilled to share this uplifting track with the world and grateful to have AYON by my side on this journey.”

SiphoMjita’s artistry is rooted in Durban’s cultural soil, where his career has blossomed into a plethora of collaborations with local luminaries such as Usimamane, Lowkey_esto, Blue Pappi, and Usenzangakhxna. With every rhythmic beat and innovative sonics, SiphoMjita curates the essence of Durban’s sound, weaving its rhythm and soul into something that speaks universally. He stands as a cultural custodian of his city’s musical spirit, elevating Durban’s talent and sharing its brilliance with the world.

In Picture: SiphoMjita


As the year closes, “Brand New Me” arrives like a breath of fresh air; a sonic emblem of transformation, an anthem of optimism. With talents like SiphoMjita and AYON at the helm, Durban’s music scene continues to loom, its pulse echoing far beyond its borders. So, step into your infinite power and embrace the endless possibilities of a brand new day.

Listen to “Brand New Day” here: https://orcd.co/siphomjita-bnm



Lit Vybz and VJ Skinny Deliver Resilience and Hope with Afro-Drill Anthem “Problem”

Radar Charts
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Lit Vybz and VJ Skinny Deliver Resilience and Hope with Afro-Drill Anthem “Problem”

Nigerian music powerhouses Lit Vybz and VJ Skinny have teamed up to release “Problem”, an Afro-Drill masterpiece that blends hard-hitting beats with heartfelt storytelling. Released this month, the track is a testament to the artists’ ability to channel themes of struggle, resilience, and hope into a captivating soundscape.

A Sonic Exploration of Strength

“Problem” combines the infectious rhythms of Afrobeat with the bold, gritty energy of Drill, creating a sound that is both fresh and reflective. The track opens with haunting melodies and powerful percussion, setting the stage for Lit Vybz’s smooth, introspective verses and VJ Skinny’s raw, melodic delivery. Together, the duo crafts a compelling narrative of triumph over adversity, making “Problem” an anthem for perseverance.

Lit Vybz showcases his lyrical prowess with lines that speak to overcoming challenges, while VJ Skinny complements this with his emotive and relatable performance. Their synergy results in a track that is as inspiring as it is enjoyable, resonating with anyone facing life’s hurdles.

Meet the Visionaries Behind the Track

Lit Vybz

Born Kwen Joshua in Nigeria’s Middle Belt, Lit Vybz has been redefining Nigerian music since his breakout in 2015. Known for his unique fusion of rap, Afrobeat, and melodic storytelling, he draws from his personal experiences and cultural heritage to create music that transcends genres. With a career spanning nearly a decade, Lit Vybz continues to evolve, solidifying his reputation as one of Nigeria’s most versatile artists.

VJ Skinny

Peter Luis Onuh, better known as VJ Skinny, is a multi-talented artist from Benue State. A graduate of Theatre Arts from the University of Abuja, VJ Skinny’s music is a reflection of his personality, environment, and emotions. Influenced by the diverse sounds of his upbringing in Abuja, he has developed a catalog that includes hits like “Benefit Boy”, “Secure the Bag”, and “Hey God”. With his ability to fuse raw emotion with rhythmic versatility, VJ Skinny has become a standout figure in the industry.

Why You Need “Problem” on Your Playlist

More than just a song, “Problem” is a movement—a call to rise above life’s obstacles and embrace hope. Whether you’re a fan of Afrobeat, Drill, or music that tells a story, this track offers a unique blend of rhythm and meaning. Lit Vybz and VJ Skinny prove that music can both inspire and entertain, delivering a track that will resonate deeply with listeners.

Listen here

K. Darrow’s New Single “Kiss Kiss” Seals His Spot as a Game-Changer in Afro-Sintfu Music

Milliswa Vilane
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K. Darrow’s New Single “Kiss Kiss” Seals His Spot as a Game-Changer in Afro-Sintfu Music

K. Darrow caught my attention back in 2022 when he released his electrifying EP, Tandla neTinyawo. A genre-blending project, the EP seamlessly wove together African trap, AfroBeats, and AfroPop under the masterful production of Alex Muti. What stood out to me wasn’t just the polished production or vibrant soundscapes but K. Darrow’s ability to deliver raw, unfiltered storytelling in deep SiSwati. Tracks like the titular Tandla neTinyawo and Ng’beketele carried an ethos of hope while fearlessly tackling tough issues like poverty and unemployment. It was this vulnerability combined with his rich and versatile sonic palette that set my eyes onto the Eswatini artist. His ability to weave together upbeat AfroBeats rhythms to hard-hitting drum patterns set him as an artist to look out for in Eswatini music.



Fast forward to 2023, and K. Darrow kept the momentum going with two notable singles. First was Your Love, an AfroBeats and Piano-inspired love ballad featuring Lyrikal Busta that revealed his softer side. Then came Imbewu featuring Anzo, a track that leaned more into his African trap roots and kept his core audience hooked.


K. Darrow identifies himself as an “Afro-Sintfu” artist, a term he coined to describe his unique blend of AfroBeats, trap, and traditional Swazi elements. This self-proclaimed genre is as much about sound as it is about cultural pride. His deep use of SiSwati in his lyrics and his nods to Swazi traditions resonate deeply with me as a fellow Swazi, and I admire how boldly he showcases his roots.


2024 has been a whirlwind for K. Darrow. From delivering show-stopping performances at the 2024 MTN Bushfire Festival, to featuring on high-profile tracks like Hailey’s “In the Dark” and AyaCity’s “Nguwe”, his presence has been impossible to ignore. The collaboration on Lyrikal Busta’s Sgubhu, produced by Sean Cast, showcased his dedication to collaborate with other artists and make a name for Eswatini music globally.


Now, as the year wraps up, K. Darrow is ending on a high note with his brand-new single, Kiss Kiss. Featuring none other than South Africa’s Saudi (Msotra Man). This song is a powerhouse collaboration that unites Eswatini and South Africa in an electrifying blend of trap and hip-hop.

Artwork by @zumarokaswazi


In as much as Kiss Kiss is a catchy tune, there’s more to it than that. The song is a reflection of K. Darrow’s evolution as he dives into how his life has transformed: from the women who now blow him kisses when they see him, to the jealousy brewing among those watching and envying his rise. Delivered in a mix of SiSwati and trap cadences, his lyrics cut through with raw ambition and unapologetic honesty.“Mangabe akukhali iChing Ching mfethu hamba kimi, Liphimbo livala inkonzo, busisa kwaMariah, sebangiblowela iKiss Kiss, sebatsandza mine,” Darrow raps in the chorus, a bold proclamation of his journey from grind to glory.


Saudi’s verse echoes a similar hustle-centric ethos, creating a synergy that bridges Swazi and South African styles. The production merges heavy trap beats with unmistakable African rhythms, making Kiss Kiss a sonic feast that’s equal parts braggadocio and substance.
As the torchbearer of the Afro-Sintfu Movement, K. Darrow is etching his name into the rich tapestry of Eswatini’s musical legacy. In a world increasingly captivated by authentic African sounds, K. Darrow stands out as a singular, compelling voice deserving of global recognition. His seamless blend of SiSwati pride and genre-defying innovation proves that Afro-Sintfu isn’t a fleeting trend, but is a powerful cultural force.


For fans like me, K. Darrow’s ascent feels deeply personal. With every track, every collaboration, and every performance, he redefines what it means to be proudly Swazi and unapologetically original. His journey inspires not only admiration but also an unshakable belief that the best is yet to come.

Eswatini Music To The World.

Listen to Kiss Kiss here: https://Linktr.ee/k.darrow


Aisle 24: AJFawdySeven’s Traditional Introspective Series

Milliswa Vilane
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Aisle 24: AJFawdySeven’s Traditional Introspective Series

In hip-hop, legacy is written in sequences, the recurring threads that deepen the narrative. Elements of legacy become synonymous with an artist’s identity. Think of how Kendrick Lamar has his The Heart series, Drake pens introspection and freezes moments in time with his “timestamp” tracks (6PM in New York, 4PM in Calabasas), and South African rap titan K.O showcases timeless rap bravado in his Mission Statement series.


From the mountain kingdom of Lesotho, AJFawdySeven has etched his name into this tradition, creating Aisle, a sonic memoir that unpacks the weight of living, loving, and enduring. With Aisle 24, the latest chapter, AJFawdySeven gives us a soulful meditation on life in 2024, capturing the mood of December- a month soaked in nostalgia. He maintains this December spirit to deliver Aisle 24, a track that feels like reading a journal entry written in permanent ink. Produced by Thor Björgvinsson, this single is a soul-bearing reflection that bridges the past, the present, and the year yet to unfold while taking into account the lessons that have shaped him.

AISLE 24 COVER ART


Released today, “Aisle 24” is a song that delves deep into themes of resilience, personal growth, and gratitude. The track highlights AJ’s ability to merge introspection with storytelling, creating music that resonates universally while staying true to his roots. AJ explains that Aisle is more than a series, it’s a personal tradition:

“When I think about it, it’s a celebration of life. To have made it to this point, whether you feel it was an uphill battle or just another year, the fact is you made it here, and you’re still going.”


Aisle 24 is not only introspective in nature but is also communal. The rapper uses this platform to honor the tastemakers, cultural icons, and journalists who have shaped hip-hop’s trajectory, weaving shoutouts to people like Milliswa Vilane(myself) , Illythehost, and Scoop Makhathini into his verses. Even platforms like HYPE Magazine and Postman and the Diary Room get a nod, demonstrating AJ’s deep respect for the ecosystem that nurtures artists.


“Tastemakers are fans who figured out a way to showcase their love in a regulated, artistic manner… I’ve been super blessed to be covered by my favorites, and it’s something I’ll always be grateful for.”


From Aisle 23 to Aisle 24, the series has matured alongside AJ himself. Initially sparked by a collaboration with Thor Björgvinsson and Tyson Jam Ramela, the series has become a cornerstone of AJFawdySeven’s artistry. Fans still talk about the first release, a testament to the timelessness of his work.Each song in the series is a marker of growth. Aisle 24 particularly stands out for its heartfelt authenticity. AJ shares that it’s one of the few tracks he’s re-recorded from scratch:


“It was initially just supposed to be one verse, but after recording, I enjoyed the song so much I didn’t want it to end.”


This dedication to crafting meaningful music is evident in every bar and beat of Aisle 24.

In Picture: AJFawdyseven


“We’re coming for everything.” These words encapsulate AJFawdySeven’s energy heading into the new year. Aisle 24 isn’t just a reflection on 2024; but a window into AJFawdySeven’s future. AJ hopes the track resonates deeply with listeners, holding them steady until his next drop.With his momentum growing , AJFawdySeven is carving out a space for Lesotho in global hip-hop. The world is watching, and AJ is ready to deliver. For AJFawdySeven, this is not just not another walk in the aisle, but a journey marked by resilience and growth.

Presave “Aisle 24” here:https://ffm.to/aisle24


Embrace the FAMÖUS LIFESTYLE: A High-End Fashion Pop-Up Experience

Editor
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Embrace the FAMÖUS LIFESTYLE: A High-End Fashion Pop-Up Experience

As the world of hip-hop continues to intertwine with high fashion, a new wave of luxury experiences is emerging, and at the forefront is the FAMÖUS brand. This season, FAMÖUS invites fashion aficionados and lifestyle enthusiasts to immerse themselves in the FAMÖUS LIFESTYLE—a high-end pop-up shop experience that redefines luxury and community in the fashion world.

A Celebration of Sophistication set against a backdrop of urban elegance, the FAMÖUS LIFESTYLE pop-up promises to be a feast for the senses. From the moment you step inside, you’ll be enveloped in an ambiance that echoes sophistication and style. The design elements—think sleek lines, plush textures, and an artful arrangement of high-end pieces—reflect not just fashion, but a lifestyle that many aspire to achieve.

Every detail has been meticulously curated to create an environment that feels both exclusive and inviting. Elegant lighting casts a warm glow over the carefully selected collections, showcasing the latest in luxury streetwear, tailored pieces, and statement accessories that embody the FAMÖUS ethos: to live boldly and fashionably.This event is not just about shopping; it emphasis on community and bringing together a network of like-minded individuals who share a passion for fashion and the culture that surrounds it. Attendees can expect to mingle with fellow fashion enthusiasts, influencers, and even surprise guest appearances from notable figures in the hip-hop and fashion scenes.

Also interactive elements such as panel discussions that dive deep into the intersection of fashion, lifestyle and the challenges that comes with it. The FAMÖUS team is dedicated to creating an experience that goes beyond transactions; it’s about building relationships and inspiring creativity within the community.

At the heart of the FAMÖUS LIFESTYLE pop-up is an exclusive collection that showcases the brand’s commitment to quality and style. Each piece is designed with meticulous attention to detail, ensuring that wearers not only look good but feel empowered. High-end streetwear staples, luxurious athleisure, and bespoke accessories will be available, each telling a story of craftsmanship and aspiration.

For those looking to elevate their wardrobe, FAMÖUS will also feature limited-edition items that are only available at the pop-up. This exclusivity adds a layer of excitement, making each purchase feel like a treasure hunt for fashion enthusiasts seeking to stand out in a crowded marketplace.

Stepping into a new era of fashion, the FAMÖUS LIFESTYLE pop-up is more than just a shopping event; it’s a lifestyle experience that encapsulates the essence of luxury fashion in the hip-hop culture. It is a celebration of elegance, community, and the pursuit of personal style.

So mark your calendars and prepare to step into a world where fashion meets lifestyle in the most aspirational way possible. As FAMÖUS continues to push boundaries and redefine norms, the LIFESTYLE pop-up promises to be a pivotal moment for fashion lovers everywhere. The FAMÖUS LIFESTYLE pop-up will undoubtedly become a highlight of the fashion calendar.
Don’t miss your chance to be part of this exclusive experience—because when you wear FAMÖUS, you don’t just wear fashion; you embody a lifestyle.

SEE YOU ALL ON THE 12 & 13 OF DECEMBER INSIDE CELLO LOCATED AT FIRST OSU LANE, ACCRA.

BrianKing Unveils Debut EP ‘DOMINION’: A Sonic Journey

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BrianKing Unveils Debut EP ‘DOMINION’: A Sonic Journey

Buzzing new Ghanaian artist BrianKing releases his debut project “Dominion” a reflection of his journey through sounds and emotion as each track tells a story, inviting listeners to experience the highs and lows of his musical adventure. Get ready to be captivated by the unique vibes and heartfelt lyrics that define BrianKing’s sound.

“Dominion” is an EP that encapsulates the journey of taking control over oneself as a spiritual being and asserting influence over the world. The term “dominion” signifies power, authority, and the right to govern, which reflects BrianKing’s intent to harness his inner strength and navigate life’s challenges with confidence.

Created in just a week, this EP is a raw expression of true confidence, vulnerability, and authenticity. Each track delves into the complexities of self-discovery, inviting listeners to embrace their emotions and recognize their own power. BrianKing’s commitment to being genuine resonates throughout this project, making it not just a collection of songs but a heartfelt declaration of self-empowerment and resilience. “Dominion” serves as a reminder that we all have the ability to take charge of our lives and express our true selves in a world that often demands conformity.

SA Hip Hop DJs: The Unsung Heroes of Hip Hop Culture

Milliswa Vilane
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SA Hip Hop DJs: The Unsung Heroes of Hip Hop Culture

DJs in Hip Hop play a vital role, they are the curators of compelling collaborations, the storytellers of the streets and the architects of Hip Hop culture. In fact, even DJ albums have always been the unsung pillars of hip hop culture, a melting pot of collaboration, discovery, and pure artistry. From their early days igniting block parties to curating genre-defining projects, DJs have stood at the crossroads of creation and curation. Their albums act as cultural snapshots, bringing together diverse voices into a unified, resonant soundscape. Think DJ Khaled, the hitmaker extraordinaire, bridging unlikely collaborations like Migos and H.E.R., crafting anthems on albums like Major Key and Father of Asahd. As a producer, curator, and connector, Khaled became a cultural linchpin, proving that DJ albums transcend mere music, they’re movements, and mosaics that reflect the evolving nature of the genre. At their best, these projects embody hip hop’s spirit of collaboration and innovation, bringing diverse voices together to create something uniquely greater than the sum of its parts.


But what about here at home, in South Africa? How have our DJs embraced this art form, and more importantly, how have they shaped its narrative?

South Africa’s Relationship with DJ Albums


For a golden moment, from 2014 to 2016, South Africa experienced a renaissance of DJ albums. It was the era when DJs like DJ Dimplez, DJ Switch, DJ Speedsta, and DJ Citi Lyts emerged as architects of collaboration. Beyond spinning records; these DJs were fostering connections, building bridges across styles and regions, and amplifying voices that might have otherwise gone unheard.


Take a walk down memory lane. Remember Mayo by DJ Speedsta? A record that not only dominated radio but introduced us to Shane Eagle and Frank Casino. Or DJ Dimplez’s Way Up, an instant classic that brought kasi rap to the forefront? These tracks were the soundtrack of a culture rising.
As I reminisce, I can’t help but think about how these albums connected me personally to the culture. Tracks like DJ Sliqe’s Do Like I Do gave me my first taste of Kwesta’s kasi brilliance whilst bringing kwaito nostalgia with the addition of Flabba’s verse, while DJ Vigilante’s God’s Will opened my ears to AKA and K.O’s cosmic synergy birthing a strong collaboration( think of Run Jozi) . Through these collaborations, these DJs were doing more than making music, shaped narratives, shed a light on talent, and curated cultural moments that have lived far beyond their time on the charts. Beyond being curators, DJs were the true A&Rs, connecting the dots in a way that reshaped the industry and introducing us to new talent.


2024: The Revival of DJ Albums


Now, after a period of relative quiet, DJ albums are back, and they’re demanding more attention. While the format waned in recent years, its influence still lingers. I believe a revival is brewing in South African Hip Hop, led by two visionaries: DJ Sliqe and DJ Clen. In fact, this revival has sparked so much controversy and attention, with fans pinning the two DJs against each other.


DJ Sliqe: A Legacy in the Making

In Picture: DJ Sliqe


When you talk about consistency and vision in South African hip hop, DJ Sliqe is a name that commands respect. From his early days with Injayami Vol. 1 to his groundbreaking collaborations like Champion Music with Maglera and 25K, Sliqe has built a catalog that’s both timeless and forward-thinking.
His latest offering, Injayami Vol. 3, is a masterpiece of duality. The album’s two sides are a perfect metaphor for the diversity of South African hip hop. Side A dives deep into pure hip hop lyricism, featuring heavyweights like Cassper Nyovest and Emtee alongside emerging talent like The Qwellers. Side B, on the other hand, pays homage to the vibrant, bass-heavy Afro Kwaito sound that fuels dance floors across the nation. Together, the album tells a story of South African Hip Hop culture that thrives in its contrasts.
What makes Sliqe truly remarkable, though, is his ability to stay relevant while pushing boundaries. Each track is a celebration of South African identity—layered with dialects, sounds, and textures that feel like home. I mean, who ever pictured The Big Hash rapping in vernec, Dj Sliqe has made that happen with Injayam Vol 3 on the opening track titled “Family Binnis”.


Listen to “Injayam Vol 3” here

DJ Clen: The Alchemist of Vibes

In Picture: DJ Clen


DJ Clen burst onto the scene in 2023 with Viral, a project that turned heads for its sharp storytelling and seamless collaborations. Executive-produced by A-Reece, Viral was an introduction to Clen’s artistic philosophy: to bring together the old and the new, the polished and the raw. This release was led by the release of “Rollin” a groovy summer song featuring the Mataboge brothers, A-Reece and Jay Jody and Alexandra’s RnB sweetheart, Marcus Harvey. This single, is what made DJ Clen the vibe alchemist.


With his latest project, Too Viral, Clen doubles down on his role as a tastemaker. The album boasts a lineup that balances heavy hitters like Stogie T and Blxckie with up-and-coming voices like Kane Keid and K-Rev. The result is an album that feels fresh, thoughtful, and unmistakably hip hop. Clen understands something fundamental about music: it’s not just about who’s hot right now but it’s about who’s got something to say. He delivered collaborations that raised eyebrows, imagine seeing A-Reece and Moozlie on a record together? I wouldn’t have pictured that but their collaboration on “Tiffany Blue” was nothing short of amazing. And that’s what DJs do, they open our ears to collaborations we thought weren’t possible.

Listen to “Too Viral” here


Why DJ Albums Matter More Than Ever?


This revival of DJ albums couldn’t have come at a better time. South African hip hop is at a crossroads, battling for airtime against AmaPiano while working to redefine its commercial identity. But this is also a moment of opportunity—a moment when the genre’s resilience and creativity are shining through.
New voices like KindlyNxsh, Kane Keid, Slim Dumpie and K-Rev are breaking through, and the return of DJ albums gives them a platform to be heard. These projects create space for experimentation and collaboration, bridging gaps between regions, styles, and generations. They remind us that hip hop, at its core, is about unity.


There is a deeper cultural significance that comes with DJ albums. For years, DJs have faced criticism for becoming too complacent, sticking to formulaic sets, and fading into the background. But with albums like Injayami Vol. 3 and Too Viral, DJs are reclaiming their place as cultural leaders. They’re proving that they’re not just selectors : they’re creators, curators, and connectors.


Looking Ahead


With DJs like Sliqe and Clen leading the charge, the future of South African hip hop feels exciting again. And they’re not alone. New wave DJs like AudioMarc and LesediTheDJ are stepping up, releasing their own music and proving that the DJ album format is here to stay. This influence is beyond just music. It’s about identity. It’s about giving hip hop the space to evolve while staying true to its roots. The DJs aren’t only curating playlists, but curating culture, telling stories that need to be heard, and making sure the voices of tomorrow get their chance to shine. South African hip hop has always been about resilience. And with this new wave of DJ albums, it’s clear: the culture is alive, and it’s only getting stronger. This just proves that DJs have a bigger role to play in Hip Hop, they are more than background figures, they are the nucleus around which an entire culture spin.

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