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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.






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.

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

Illbliss Drops Highly Anticipated 8th Album: Sideh Kai

Nigerian hip-hop veteran Illbliss, widely recognized for spearheading the ‘Eastern – Igbo Boy Movement’ in Nigerian hip hop, has recently unveiled his eighth studio album, titled Sideh Kai. This release marks a significant milestone in his illustrious career, reflecting his evolution and growth within the hip-hop landscape.

A Reflection of Journey and Maturity

Sideh Kai, comprising 16 tracks, encapsulates Illbliss’s journey and maturity as an artist. The album resonates with fans and critics alike, hailed as a masterpiece for its hard-hitting production, introspective lyrics, and trademark wordplay.

Celebrating Life and Heritage

The album transcends mere musical expression, serving as a celebration of life as a middle-aged rapper and black man. Particularly notable is the track “Daughters”, wherein Illbliss expresses his profound love and gratitude for his daughters, adding a deeply personal touch to the album.

Thematic Exploration

Sideh Kai offers a thematic exploration delving into sophistication, resilience, opulence, and class, all interwoven with a deep reverence for Illbliss’s Igbo heritage. Tracks like Red Caps (Igbo) pay homage to the Igbo culture and its enduring spirit, setting the tone for the album’s overarching themes of identity and cultural pride.

Lyrical Prowess and Collaborations

Illbliss’s lyrical prowess shines throughout the album, showcased in tracks like God Is God and Peace of Mind. Moreover, Sideh Kai features an impressive lineup of guest artists, including Odumodublvck, Vector, Umu Obiligbo, Cobhams Asuquo, Made Kuti, Fave, Teni, Lade, Deborah Prest, Acetune, and Yukel, each contributing their unique flair to the project.

Legacy and Influence

With Sideh Kai, Illbliss further solidifies his position as one of the most influential figures in Nigerian hip hop. From his debut album, Dat Ibo Boy, to his latest release, Illbliss continues to leave an indelible mark on the genre, captivating audiences with his timeless artistry and evolution as an artist.


For millennials, hip-hop enthusiasts, and anyone who appreciates indigenous rap, Sideh Kai is a must-listen. Available for streaming on platforms like Spotify and YouTube, the album invites listeners on a captivating journey through Illbliss’s life, heritage, and unparalleled musical craftsmanship. Connect with Illbliss on social media for updates and exclusive behind-the-scenes content.

Follow Illbliss on Instagram and X for more updates.

Also Read: Clear Your Calender For The Incredible Music Festival 2024

Clear Your Calender For The Incredible Music Festival 2024

The Incredible Music Festival (IMF) is set to open its doors tomorrow in the picturesque city of Jos, Plateau State, marking its second edition after a successful launch in 2022. Renowned for delivering exceptional musical experiences and revitalizing the creative economy, especially in Jos, this event has garnered widespread anticipation. Despite initial plans for a New Year’s Day celebration, the festival was postponed to honor those who lost their lives in tragic incidents on Christmas Eve in Mangu and Bokkos areas of Plateau State. Nevertheless, the return of IMF promises three days of excitement from February 22nd to February 24th.

Event Schedule Overview

  1. Day One: Workshop and Opening Ceremony
    • Venue: Crest Hotel
    • Time: 10 am
    • The festival kicks off with a workshop and an opening ceremony on day one, setting the tone for the following days of musical extravaganza.
  2. Day Two: Panel Discussion and Networking Event
    • Venue: Gowon Hall, Crispan Hotel
    • An engaging panel discussion and networking event are slated for day two, providing attendees with opportunities for learning and connection.
  3. Day Three: Grand Finale
    • Venue: TBD
    • Date: Saturday, February 24th
    • The grand finale features a lineup including a gospel concert, a hip-hop showcase with battle rap, and the highly anticipated Choc Boiz homecoming featuring M.I Abaga, Jesse Jagz, and Ice Prince.

A Comprehensive Starter’s Guide for IMF 2024

Checkout Sarauta’s List

  • Ticket Purchase
    • Regular tickets: 3,000 naira
    • VIP tickets: 10,000 naira
    • VVIP tickets: 250,000 naira
    • Ensure you secure your ticket in advance, as it grants you access throughout the festival. Visit for ticket purchases.
Check Out: Uncle D.I.A Unveils New Track: Zamu

Interview: Afamefuna Onyebadi and Sam Are open up on the 30% podcast and the current state of Kenya’s music industry

The pair of Afamefuna and Sam represent the Kenyan music business class podcast, 30% Podcast. Pronouncing various hot takes, unpacking Kenya’s royalty quagmire, dissecting the backend jargon, and shedding a spotlight on the hottest music currently blasting out of Kenyan terrain, the 30% Podcast is the new CNN for Kenyan music lovers. Their opinions are king at this point. Their credibility has been cemented, and there is more to come from the music producers turned broadcasters. The music industry in Kenya has been shorthanded in finding a journalistic and historian edge that can capture the key happenings of the industry in real time, and the 30% Podcast has inevitably seized that gap.

In an exclusive conversation, we learn about the new media empresarios, their musical contributions, mainstream versus indie today, and some of their vows for the rest of the year

One on One with The 30% Podcast:

How did the both of you meet, and how has your relationship grown to date? 

Sam: I think we met at the studio we used to work at. We never really spoke much. But having a podcast and having something to deliver has helped us grow and learn more about each other.

Afam: I’d say we are really close now.

How important is it to have organic relationships and chemistry when podcasting? 

Sam: It depends because if you’re having an informational podcast it’s not important. You just need to have two people that are good at broadcasting. But when you have a little banter, life lessons, personal opinions, it’s important. It keeps things from being awkward, and it feels human. 

What inspired your podcast the 30% Podcast? 

Afam: Essentially, our conversations around the music industry that we’d have in the studio we worked at before. Sam came up with the name after realizing only 30-40% of Kenyan music is played on the airwaves. The goal is to educate and have conversations on how to raise that number.

How has the podcast grown over the past year? 

Sam: From our following, to our network bandwidth, I feel like consistency has played a huge role in asserting that.

Afam: We’ve had editorial coverage, we’re getting event invites, and people considering us as press, that has been really good. We are grateful. 

You’re both producers in your own right, Sam having an extensive catalog with Nyashinski and countable placements – Sam, what’s the most glaring takeaway producing for a more mainstream versus an indie artist? 

Sam: I normally approach both with a similar gusto. With a mainstream act, you think about the impact because they have a widespread audience and that might play into some decisions you make. Personally I don’t pick and choose, I treat both with the same respect. The takeaway is however, with mainstream artists you tend to have less freedom depending on your level as an artist.  

Afam, you have worked with many artists likewise in numerous capacities. Speak about artists you have worked with and your experience producing in the Kenyan music industry. Is there potential?

Afam: Yes. I tend to work a lot with artists in their beginning stages because I’m invested in developing and upcoming scenes. Artists such as Iyanah, Andyah, Chevy Kev, Swahili Papi, and more, I feel will be very successful. Although I have also worked with more established acts like Benzema and Lil Maina. There is a lot of diversity in Kenyan music. And there is a lot of creativity. The industry can go in so many ways so I’m excited for the industry. 

Afam, you’re riding with a hit song at the moment, Lil Maina’s “Cocoa Butter”. How do you celebrate such wins? 

Afam: Firstly, not in my wildest dreams would I imagine me even reading this. It’s taken a while to get to this point of being celebrated by the mainstream because I produce a lot for underground artists. But I’m grateful and thankful. As producers, we don’t have much time to celebrate because the success can be short-lived as there’s a lot of competition. So how I leverage this, is working harder and trying to work on my craft even more.

Why are both of you passionate about the Kenyan music industry, and what do you feel the climate is at the moment overall? 

Sam: Seeing the discrepancies between the Western world and Kenya in the music, technicalities, business, the marketing strategy, I feel there is no reason to be okay with that. There is a lot of room for improvement. I have an innate fire to see our industry flourish. 

Afam: I’m a dreamer at heart. I dream of a time where Kenyan music will be at the highest level healthily competing for Grammys and so on. There are amazing success stories such as Boutross and I want that kind of success to be available to every aspiring artist in Kenya.

For the 30% podcast, how do you think podcasting has impacted the media and broadcast space in Kenya? 

Afam: I think podcasting is one of the biggest mediums currently. You can see artists utilizing it as part of their press runs. Kenyans are listening. I believe the podcast boom is taking full effect and we are glad to be part of that. 

Sam: I think it’s interesting because podcasting is a little more loose and free compared to traditional media. It offers something else. I believe it impacts the music industry positively because we get to see our favorite artists in a new light, and that is commendable.

Many have asked you to diversify and go visual. Is this something you’re cognizant of? 

Afam: Definitely. I think that as much as podcasting in its pure form is meant to be an audio experience, podcasting in Kenya really thrives when visuals are attached to them. We saw the positive reception when we interviewed Eric Musyoka, so this is an approach we are willing to take. 

What are some plans you have for the podcast this year? 

Afam: I’d say we’re keen on getting visual representation out there. It’s also about staying consistent and how we can continue to talk about things people care about in the music industry as the main thing. We don’t want to do anything over-the-top. We really just want to deliver a good product, talk to interesting people, and interview people who Sam and I are keen on getting their insight.

Sam: I think growth, that’s really it for me. 

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Tulenkey Drops Intense 4-Track EP  ‘Bad Friends’ 

Ghanaian Rapper Tulenkey presents his first release of the year, a four track EP entitled “Bad Friends”. Join Tulenkey on a musical journey where the voices in his head morph into deceptive companions. Each track becomes a chapter, recounting the internal conflicts and selfdoubt that characterize this intricate dance between Tulenkey and the negative influences that disguise themselves as friends. 

Featuring guest appearances by Kweku Flick, Oseikrom Sikanii & BeeztrapKOTM, this musical journey challenges the conventional norms of storytelling, with each song depicting the profound impact of unchecked negativity. The EP confronts the stigma surrounding mental health, encouraging listeners to empathize with the internal battles faced by many, resulting in a project that is relatable and intense simultaneously. 

Following the exclusive launch of the EP in Accra on Friday 16th February, this latest project by the dynamic Ghanaian rapper went live on all digital stores over the weekend. 

“Bad Friends” is available on all digital streaming platforms now.

Listen to new music from NJERI, An21, $hyli and more.

This weekend, we feature music from stalwarts NJERI, An21, $hylii and more from Kenya, Uganda, and UK-based acts. Check it out.

NJERI – Patience Ft. Decester, Ari

Renowned Kenyan songstress NJERI is set to captivate audiences once again with her latest release, “Patience”. The soulful ballad, infused with NJERI’s distinctive vocal prowess and emotive lyricism, is poised to become a beacon of hope and resilience for listeners around the globe. The track blends Afro, R&B, Amapiano and Dance. NJERI from Kenya adds a distinctive melodic brilliance. A chance encounter with ARI from Zambia elevates the track with R&B flows. DECSTER from London brings forward the dance elements. This track adapts to various moods, suitable for chill days or vibrant parties. Explores themes of patience and toxic relationships from diverse perspectives. Its unique journey and cross-cultural resonance can capture global audiences.

In “Patience,” NJERI delves deep into themes of perseverance and endurance, delivering a powerful message of resilience in the face of adversity. With its lush melodies and poignant lyrics, the song serves as a reminder of the importance of patience and steadfastness in navigating life’s challenges including love.

NJERI’s unparalleled talent shines through in every note of “Patience,” as she effortlessly combines elements of Afro-pop and soul to create a truly unforgettable listening experience. Backed by a stirring arrangement that complements her vocals perfectly, the song showcases NJERI’s ability to connect with audiences on a profound emotional level.

With its universal message of hope and resilience, “Patience” is poised to resonate with listeners from all walks of life. Whether they’re navigating personal challenges or simply seeking comfort in uncertain times, NJERI’s latest release offers a beacon of light and a source of solace.”Patience” is now available on all major streaming platforms :

An21 – Underground Ten (Album)

Kenyan music sensation AN21KE is set to shake up the music scene with the release of his highly anticipated debut album, ‘Underground Ten.’ This groundbreaking project showcases AN21KE‘s versatile talents as both an artist and producer, featuring an eclectic mix of genres and collaborations with a diverse array of artists.

‘Underground Ten’ is a testament to AN21KE’s boundary-pushing creativity and commitment to innovation. Drawing inspiration from a wide range of influences, including hip-hop, afrobeat, reggae, and electronic music, the album offers a fresh and dynamic listening experience that defies categorization. From his lead single ‘‘Watatii’’ featuring Denzel Kong and Ouma Wa Mafegi, to the blissful “Going Up” the album is layered with an equal range of production from songbirds such as  Miss T, to the self titular single “Underground 10,” which encapsulates the underground Kenyan music scene that shows a glee of hope with the new Kenyan artists. 

One of the standout features of ‘Underground Ten’ is its collaborative nature, with AN21KE teaming up with an impressive roster of artists from the underground Kenyan scene. From established stars to rising talents, each collaboration brings a unique flavor to the album, resulting in a rich tapestry of sounds and styles.

‘Underground Ten’ is now available on all major streaming platforms:

$hyli – Toxic Love

Experience the electrifying energy of Shyli’s  single, Toxic Love. Blending elements of Afropop and RnB, “Toxic Love” is a high-octane anthem that demands to be heard. With its anthemic chorus and infectious guitar riffs, this track is sure to leave a lasting impression on audiences everywhere. The artist recently graced the  cover of Spoify’s “Made In Uganda.” For the UK based Ugandan emoter, “Toxic Love” delves into the complexities of a tumultuous relationship. Through soulful melodies and poignant lyrics, $hyli narrates the story of a man who finds himself entangled in a toxic love affair with a woman who is already committed to another.


Singer and songwriter PapaRaZzle dazzles on this smitten cut with his mellifluous vocal delivery and smitten Afrobeats record. A cut that embodies the Valentines spirit, Papa glides on the smitten instrumental as he professes his love for a love interest. A bop in essence, Papa shows off his vocal prowess and songwriting virtuoso as the track goes on. Press play below.

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EXCLUSIVE: CAP is designing the Nairobi sound one beat at a time

Michael Carpenter stylized as CAP, has yielded an informidable reputation as Kenya’s Urban Music golden child. Grossing a laudable catalog with placements that across Kenyan Hip Hop tastemakers from Kahu$h, Boutross, Wakadinali, Timmy Blanco, to saccharine R&B stars in NJERI, the name CAP is adjacent to hits and records that very much shape Nairobi’s Hip Hop canvas.

Brooding cassius clay energy following his most recent works of soundtracking Kenya’s blockbuster Netflix series, VOLUME, CAP is in a stratosphere of his own. Bullish, buoyant, but focused, he is hardly celebrating the meteoric accolade. He is the studio working with Kenyan Alt risers Maya Amolo and Nyokabi Kariuki, as well as his familiar peers – Albeezy, Sabi Wu, and may others.

In an exclusive interview with Hip Hop Africa, CAP shares his most detailed interview to date in an unfiltered and unadulterated conversation with us. Read all about it below.

One on One with Producer, CAP

Talk about your background and your upbringing?

I feel like from a young age, I’ve always had a musical ear. Like when the radio would play certain songs, I could hear the harmonies in my head. I think that’s because my parents were in a choir. 

How did you get into music production? 

So as of production, my brother had FL studio on his laptop and when I was a kid, I thought it was a game (Laughs). So I used to mess with it here and there and then it got serious when I went to high school. That’s around the time I met most of my collaborators to date. We were in a very musical school so we would always be in the music room. Then I made my first serious beat on my guitar teacher’s laptop (shout out Mr. Mike). And the rest is history. 

When did you realize you’re a full-fledged music producer? 

I think when I made my first song with MIKE OF THE FUTURE. Yea I’d say that’s what gave me that realization.

How supportive have your family been of your music career? 

Quite supportive actually. There’s obviously the occasional “So when are you going back to school” (Laughs) but for the most part they’re very supportive.

You recently produced the soundtrack to chart-topping Netflix series “The Volume”. Speak to how that came to be, your reaction to being chosen, and being part of the project? 

So that came about through Ivan Odie where he was already involved with the project and he called me in about the intro sequence song first. After we worked on it, he told me they were also looking for some more music to go into the show so we got to working on that. As far as my reaction, I was excited to have Netflix on my resume.

Speak to what it’s like working with Timmy Blanco, NJERI, Poppa Don and Ivan Odie in the studio? What is the vibration? 

So the intro sequence song went through different iterations. There are other versions with different artists and also different beats. So as far as the song, we didn’t do it all in one session. But working with them is always a fun time for sure. I’m working with Blanco and NJERI on their next projects as we speak so be on the lookout.

What does it mean to work on a Netflix production? 

It’s a kinda cool experience where Netflix went from being unavailable in this country to our music being on that platform so it’s surreal in that regard.

What are your main inspirations generally and at this current point in time? 

Right now I’m getting a lot of inspiration from films at the moment. My favorite movie right now is Memento which was directed by Christopher Nolan which has a very layered story and I’m trying to see how I can tell a complex story like that through music. Also I recently started listening to scores of movies and shows to get out of the box of listening to normal music.

What about fashion makes it an important extension to your being. To that point, how did you come up with The Agenda Worldwide. And what’s the vision? 

I really like putting on good outfits and on top of that, I feel like fashion, alongside music, is a very core element of culture. That’s where The Agenda Worldwide comes in. As of right now, the vision I have for it is to try to do unconventional things with fashion. I wanna keep it at that for now.

Can you give us your Top 10 Produced by Cap records? 

Oof this is a hard one. They’re all my babies (Laughs) I don’t think I can pick.

Give us your Top 10 rappers. Doesn’t have to have a particular order. 

Damn top ten of all time might be to hard for me I can give you my top 10 right now though:




Cash Cobain


Swahili papi

Tommy Revenge

Lancey Foux



How about producers?

Has to be:









Mike Dean


When you’re cutting records, what’s the most important thing to you at this point in time versus when you first got into music production? 

These days I look at the song as the priority where before I only used to care about how the beat sounds. I used to put too many things in the beat in my first sessions and wonder why artists never used to pick it.

Who are your favorite Kenyan creatives generally? 

I like what Kxffy is doing with the music but I especially like the vlogs he puts out. It gives the producers that’ll come after us good insight on production.

There’s also Annette Michatha. She’s a stylist who’s doing amazing work. We’ve worked on some projects that will come out soon.

Also Chief Custom Grillz. He’s a jewelry designer. All I can say about him is “be on the lookout“

Ama too. Ama is a model and we’ve worked together on a lot of the Agenda stuff but I also love the stuff she’s doing with Tysevisual, super cool. Brands please give her all your money (Laughs).

There is a huge renaissance happening in the Kilimani-Kileleshwa rap and general creative scene. Talk about what makes this generation special? And who are some of the faces, collectives and creatives we should be paying attention to?

I think the biggest thing that differentiates us from any other generation is technology. It lets us work in more efficient ways from the previous generation. Literally someone can go platinum from a song they made in their bedroom today. There’s this new artist I’m working with called 30 (he’s crazy to check him out). He records songs off his phone, which would have been crazy even 5 years ago. But a few people that you should look out for are: 30, Gaccu, Kihoti, Varde, there’s this artist called Kay khali that my brother FK put me onto, also Ashley Kitonga. It’s a lot of really good music coming out of Kenya right now I’m definitely forgetting some but those are a few you should look out for.

What’s the ultimate Cap girl? 

Damn this question was unexpected (Laughs). But she has to be openly passionate about something. It could be about anything. It can be trees, how a road is built, literally any random thing. I love hearing about random facts about random things from a beautiful girl . Girls I’m single too.(Laughs).

A lot of people aren’t familiar with your projects prior to ‘All Caps’ like ‘East Bound’, ‘Block Boy’, ‘On Our Own’ etc Why do you think this is so?

I think it’s recency bias to be honest but also it might be too old of a sound from me for people to gravitate towards. I feel like I have grown so much from that sound that the new music I put out is almost completely different so people just like this new sound.

What’s the goated studio session that you’ve ever had to date? 

I’ve had a few amazing sessions but there’s a weekend I was at Hotbox studio for a weekend and me and Dez made a whole album. Don’t think I’m biased when I say this but that’s some of the most timeless music we’ve ever made.

A lot of artists whether from the indie to the mainstream scene are now coming to you for records. From Nyokabi Kariuki, to Nviiri The Storyteller, what compels you to work with an artist? 

I think that I have a sound that’s starting to reach all these people’s ears and I’m super grateful for that. In the case of Nyokabi, we haven’t made any music yet, we are just working on a separate project together which is a short film (be on the lookout for that) but we’re definitely planning to get into the studio.

Lastly, you had your first ever show last year. What can we look forward to this year? 

What’s that one 21 Savage song? (Laughs) but for real, expect a lot. I’ve been working on my next album for a while now so be on the lookout for that. Also I’m doing a lot of projects with artists this year, new artists and frequent collaborators too.

Uncle D.I.A Unveils New Track: Zamu

Get ready to kick off your weekend with a bang! Uncle D.I.A has just blessed us with some exciting news: a brand new track called Zamu is now officially out!

Embrace the Essence of #GoodAndIntelligentMusic

In this latest addition to his discography, Uncle D.I.A. invites you to immerse yourself in the world of #GoodAndIntelligentMusic. But this isn’t just any ordinary song – it’s a sonic journey filled with captivating symphonies and infectious melodies, meticulously crafted to get you moving and grooving.

Experience the Magic of #Zamu

So why wait? Don’t let FOMO (Fear Of Missing Out) get the best of you. Hit play and let the enchanting vibes of #Zamu transport you to new musical heights. Trust me, you won’t want to miss out on this magical tune!

Catch Uncle D.I.A Live at IMF

And mark your calendars! Uncle D.I.A is set to perform live at the Illegal Music Festival (IMF) in Jos State, Nigeria from the 22nd to the 24th of February alongside International Star Wyclef Jean and heavyweight rappers, M.I Abaga, Iceprince, and Jesse Jags. This is a show you definitely won’t want to miss!

For more info, click here.

Let’s make this weekend one to remember, with #Zamu as our ultimate soundtrack. Don’t miss out – tune in now and let the good times roll!

Also Checkout: DanDizzy “Oppress” Odumodublvck, Jeriq and DTG On New Track

DanDizzy “Oppress” Odumodublvck, Jeriq and DTG On New Track

Nigeria’s rising rap star, DanDizzy, is taking the music scene by storm with his latest track, “Oppress.”

A Fusion of Musical Talent

Teaming up with heavyweight Nigerian rap sensation Odumodublvck, alongside the indigenous rap powerhouse JeriQ and the dynamic DTG, DanDizzy brings together a powerhouse of musical talent in “Oppress.”

Building on Past Success

Following the success of his previously featured track “Pressure,” by Dremo, DanDizzy continues to captivate audiences with his unique sound and lyrical prowess.

A Must-Add to Your Playlist

With its infectious beats and powerful lyrics, “Oppress” is a must-add to any music lover’s playlist. DanDizzy’s latest collaboration is a blockbuster hit that promises to leave listeners craving more.

Also Checkout: Modenine Unveils ‘Shiny Object Syndrome’: A Soulful Journey Through Conscious Commentary

Modenine Unveils ‘Shiny Object Syndrome’: A Soulful Journey Through Conscious Commentary

In the dynamic realm of Nigerian music, where rhythms collide with narratives, one luminary stands tall for his unparalleled lyricism and conscious social commentary. Modenine, the award-winning lyricist and producer, unveils his latest masterpiece: the ten-track opus titled “Shiny Object Syndrome.”

This project isn’t just a collection of songs; it’s a journey through the corridors of Modenine’s mind, where laid-back head-nodders serve as the vessel for injecting profound knowledge and insight. Each track is a tapestry woven with intricate lyricism and soul-stirring melodies, inviting listeners to delve deep into the complexities of the human experience.

At the helm of production, Modenine showcases his prowess not only as a wordsmith but also as a sonic architect. Every beat, every rhythm, is meticulously crafted to complement the poignant narratives that unfold within each track. From the smooth grooves to the thought-provoking lyrics, “Shiny Object Syndrome” is a testament to Modenine’s multifaceted talent and unwavering commitment to his craft.

Behind the mixing and mastering of this sonic masterpiece is intel360, a maestro in his own right, whose expertise adds an extra layer of polish to the project. With his deft touch, intel360 brings Modenine’s vision to life, ensuring that every note resonates with clarity and precision.

But Modenine isn’t alone on this journey. Collaborating with him are the talented voices of Aina Morenike and Antonya David-Prince, whose contributions add depth and dimension to the project. Their soulful melodies intertwine seamlessly with Modenine’s lyrical prowess, creating moments of pure magic that linger long after the music fades.

As you immerse yourself in the sonic tapestry of “Shiny Object Syndrome,” prepare to be transported to a world where music transcends mere entertainment and becomes a catalyst for introspection and enlightenment. With Modenine as your guide, you’ll embark on a transformative journey through the realms of consciousness, where every track serves as a beacon of truth and insight.

So, let the music wash over you, let the words resonate in your soul, and allow yourself to be swept away by the soulful musings of Modenine

Stream Here

Mode Nine, also known as Modenine, is a highly respected Nigerian rapper known for his intricate lyricism, wordplay, and storytelling abilities. Born Babatunde Olusegun Adewale, Mode Nine emerged on the Nigerian music scene in the late 1990s and early 2000s, becoming one of the pioneers of underground hip-hop in Nigeria.

He gained prominence for his distinct rap style, which often featured complex rhyme schemes and socially conscious themes. Mode Nine’s music reflects his keen observations of society, addressing issues such as political corruption, social injustice, and the struggles of everyday life in Nigeria.

Throughout his career, Mode Nine has released several albums and mixtapes, including “Malcolm IX,” “E’ Pluribus Unum: The Pursuit of Money,” and “The Paradigm Shift.” He has collaborated with various artists both locally and internationally, showcasing his versatility and skill as a rapper.

Mode Nine’s impact on the Nigerian music industry extends beyond his music. He has been instrumental in shaping the underground hip-hop scene in Nigeria and has inspired a new generation of rappers with his talent and dedication to the craft.

While Mode Nine may not have achieved mainstream commercial success compared to some other Nigerian artists, he remains highly respected within the hip-hop community for his contributions to the genre. His legacy as one of Nigeria’s finest lyricists and storytellers continues to influence aspiring rappers and music lovers alike.

Ajebo Hustlers Return with “Celine Dion” ft. OdumoduBlvck

Avante Entertainment signee, Ajebo Hustlers, returns with a brand new track which is titled “Celine Dion”.

Nigerian music sensation, Ajebo Hustlers, has made a triumphant return with their highly anticipated track titled “Celine Dion”. This incredible song is a must-have addition to your playlist, showcasing the duo’s exceptional talent and unique sound. Serving as their latest single for the year 2024, Ajebo Hustlers continues to captivate audiences with their infectious melodies and captivating lyrics.

A Musical Journey of Emotion and Energy

Featuring a remarkable vocal contribution from the talented superstar Odumodublvck, “Celine Dion” takes listeners on a musical journey filled with emotion and energy.

With its catchy hooks and infectious beats, “Celine Dion” is guaranteed to leave a lasting impression on fans and music enthusiasts alike. The collaboration between Ajebo Hustlers and Odumodublvck creates a seamless blend of their styles, resulting in a truly unforgettable track.

Solidifying Their Position as Top Acts

The song showcases Ajebo Hustlers’s growth as artists, solidifying their position as one of Nigeria’s fast-rising acts.

Don’t miss out on this incredible release from Ajebo Hustlers. Be sure to listen, download, and share your thoughts on this remarkable track. Get ready to be swept away by the enchanting sounds of “Celine Dion” and witness the undeniable talent of Ajebo Hustlers and Odumodublvck.

You Might Also Like: KING KEAD: Redefining Mental Health Narratives in “African Man’s Therapy”

Ajebo Hustlers & Odumodublvck – Celine Dion Lyrics

Girl she dey feel me on
Girl she dey sing like Celine Dion
Girl she dey lead me on
Girly she go wound me
She go kill me young
Girl she dey feel me on
Girl she dey sing like Celine Dion
Girl she dey lead me on
Girly she go wound me
She go kill me young

Sai sai sai sai
Sai gobe mama Serah
Sai sai sai sai
Sai gobe mama Serah
Sai sai sai sai
Sai gobe mama serah
Sai sai sai sai
Sai gobe mama serah

She give me groundnut oh and kolanut oh
I sit down for her dormot oh
Nobody interrupt oh
I spend a lot oh
I sit down for her dormot oh
She give me groundnut oh and kolanut oh
I sit down for her dormot oh
Nobody interrupt oh
I spend a lot oh
I sit down for her dormot oh

She no even need to suck before she soft
Depend on how I feel Modu go add on top
Concrete jungle flood her with akpoche my love
Piego na knowledge I apply when I climb on top
F**k am till she cum
Finger in her b**t
Modu you’re a lot
Everything dey go down
Kiss her in an uber forget driver
Konji no dey show remorse
Na my pompi dey her mind for long
The bobby soft the booty much
Omo na bonafide baddie
Her pressure vilify brothers
For her domot dem dey beg am with all their beautified flowers
See my kele don hammer
She tell me say they don’t matter
So, it’s alright
It’s okay
So, it’s alright
It’s okay

Sai sai sai
Sai gobe mama serah
Sai sai sai
Sai gobe mama serah
Sai sai sai
Sai gobe mama serah
Sai sai sai
Sai gobe mama serah

She give me groundnut oh and kolanut oh
I sit down for her dormot oh
Nobody interrupt oh
I spend a lot oh
I sit down for her dormot oh
She give me groundnut oh and kolanut oh
I sit down for her dormot oh
Nobody interrupt oh
I spend a lot oh
I sit down for her dormot oh

Her attitude na zero but she sabi kill mosquitoe
Her body dey popori e dey boost my libido
My chikito I gbadun you till infinito
I put am for her body as I down the kasapreko
Son of father Abraham a descendant of Al Pacino
No be today she don dey hear me since from her Palito
Kpos daddy omo na me be her papito
I carry go I ball her like chicharito

She give me groundnut oh and kolanut oh
I sit down for her dormot oh
Nobody interrupt oh
I spend a lot oh
I sit down for her dormot oh
She give me groundnut oh and kolanut oh
I sit down for her dormot oh
Nobody interrupt oh
I spend a lot oh
I sit down for her dormot oh