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“Mfana kaMakhulu: A Bold Reflection of Lowfeye’s Identity and Zulu Roots”

Milliswa Vilane
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“Mfana kaMakhulu: A Bold Reflection of Lowfeye’s Identity and Zulu Roots”

I’m immensely grateful for the day I stumbled upon Eattz’s Twitter account, as it has been a gateway to extraordinary talent over the past few years. Through her, I’ve discovered artists like Loatinover Pounds, Tyson Sybateli, Sc23, and Thato Saul, to name just a few. Yet, one of my most treasured finds, introduced by her last year, has been Lowfeye, a rapper from Durban, South Africa.

I vividly recall a sleepless night, idly scrolling through Twitter, when I encountered an image that stopped me in my tracks. It depicted two young men, casually seated in a red taxi—or kombi—their arms draped lazily out the windows. The photograph, seemingly captured at a bustling taxi rank in Mzansi, perfectly encapsulated the spirit of South Africa’s taxi driver culture, particularly that of KwaZulu-Natal. You may wonder what makes this image so memorable; it serves as the cover art for “UnoXhaka,” a collaborative project by Lowfeye and LaCabra, released on May 26th, 2023.

Listen to”UnoXhaka” by Lowfeye & LaCabra here 

After seeing Eattz championing this project, I eagerly immersed myself in its rich soundscapes, gravitating toward tracks like “Trans,” “UnoXhaka Freestyle,” “Ndishi,” and “Namanje.” I still recall spirited debates with my producer friend Yashu, where we would spend hours deliberating over which track could claim the title of the project’s finest.

Fast forward to more than a year later, after a string of singles such as “Glitch”, “Kmele Ngizwe”, and “Indaba Ndaba”, just to name a few and after the growth of the Qwellers collective of which Lowfeye is a part of, the rapper has released a solo mixtape titled Mfana kaMakhulu.


“Mfana KaMakhulu” cover art & tracklist 

Released on August 30, 2024, “Mfana kaMakhulu” invites listeners into the vibrant sonic world of Lowfeye, where trap, hip hop, afrosoul, maskandi and AfroPop lithely intertwine to create a silky fluid mixtape. This mixtape breathes a new contemporary feel to South African Hip Hop shooting Lowfeye into instant ubiquity in the South African hip hop landscape as he currently boasts of over 30 000 monthly Spotify listeners.

Listen to “Mfana kaMakhulu” here:

At the heart of this project lies uMabulala—his moniker meaning “killer”—proclaiming his supremacy in the rap arena, where he boasts of his distinctive flow and newfound success. Throughout the mixtape, he is shrewd and relentless, full of energy and an appetite for destruction. This is particularly evident in hard-hitting and blistering trap anthems like “Ngubane” featuring FanaticalB3ing, “Get Ready (Freestyle),” and “Trampoline.” The clever infusion of Durban slang and Zulu in his verses adds a layer of relatability, resonating deeply with South African listeners.


Lowfeye sustains this unique flair in tracks such as “Ngeke Nilunge,” featuring rising rap star Umntungwambulazi, where he asserts that his competition is simply outmatched, rendering any attempts to challenge him futile. The lead single, “Amanzi eWolinji”(Orange Juice), serves as a reflective journey into his ascent to stardom, where he raps about his fashion sense and distinct flows, proclaiming himself a gem in his city. Lines like “Back in my town I know they are watching me, ngiphethe iRemote” capture this sentiment with vivid imagery. Both these songs give us a glimpse into his luxuriating life and immerse us fully into the rapper’s new found lifestyle.


A pivotal moment that showcases his versatility is the AfroPop-infused “Missed Calls,” a heartfelt exploration of unrequited love that many can relate to. Here, Lowfeye vulnerably narrates the pain of being ghosted, expressing his feelings with raw honesty. The subsequent track, “Self Love,” emerges as a powerful declaration of self-empowerment, where he resolves to nurture himself, embracing the theme of self-love. These poignant moments elevate the mixtape, with exceptional sequencing and transitions creating an immersive auditory journey.


“Ithemba,” featuring Sastii, stands as a luminous masterpiece. In this track, the rappers delve into the transformative power of faith, reflecting on their growing recognition across South Africa. They proudly wear their Adidas while uplifting listeners with a mantra of gratitude and ambition—encouraging them to wake each day with thanks and pursue their dreams, for faith without action is merely hollow. This theme resonates in “Usuku Olusha” (brand new day), where Lowfeye emphasizes the importance of appreciating each sunrise over an infectious AfroPop beat infused with the heartfelt Amapiano element— known as the log drum , which takes the production of the song to summit.

Lowfeye doesn’t shy away from where he is from—he is boldly Zulu and proud. This pride is vividly expressed in songs like “Ncumolwakho,” which proves that Zulu rizz is truly unparalleled. In this track, Lowfeye intricately paints a portrait of a woman’s beauty, comparing it to the sweetness of honey, declaring her completeness, and urging all to bow down before her allure. The use of rich Zulu language deepens the song’s appeal, offering a window into the vibrant world of the Zulu people.

In “Indawo,” featuring fellow Qwellers LaCabra and Blue Pappi, Lowfeye speaks to the profound truth that there is no place like home, even in the midst of failure. The rappers recount their journey of returning home after an unsuccessful pursuit of their dreams in the shimmering city of gold, Johannesburg. This narrative resonates deeply with many young people who face similar struggles.

Another cultural phenomenon that Lowfeye explores is African spirituality in the song titled “Ithonga.” For those unfamiliar, Ithonga refers to a revered ancestral figure in Zulu culture. In this evocative piece, Lowfeye reaches out to his ancestral figure, his mother, declaring, “Ithonga laMama liyangilandela noma ngihamba angiyoweyika.” He seeks strength and protection, honoring the powerful legacy of his ancestry. The track’s production features traditional African elements alongside subtle guitar percussion, showcasing Lowfeye’s mastery in oscillating between rap and singing, creating a diverse musical experience that resonates with a wide audience.

The titular track “Mfana kaMakhulu” serves as a fitting culmination of the mixtape. A soulful gem, the song sees Lowfeye reflect on his present life—a life brimming with success, joy, and the sweet rewards of hard work. It features LaCabra and Blue Pappi, who also share insights into their current lives—from revitalizing vernacular rap to commanding media coverage, to capturing female attention and making their families proud. The Durban boys lay bare their triumphs, infused with every ounce of joy in their presence.

In essence, “Mfana kaMakhulu” is not just a mixtape; it’s a rich tapestry of sound and emotion, woven with artistry and authenticity that speaks directly to the heart of its audience. This mixtape boldly showcases Lowfeye’s burgeoning curatorial skills and his ability to embrace his cultural heritage , creating a sense of place and identity. He remains a beacon for emerging artists, encouraging them to embrace their heritage while exploring new horizons. This is evident throughout the mixtape, where the rapper seamlessly integrates Maskandi-inspired vocals with trap and hip-hop rhythms. The sonic landscape is expertly crafted by a rooster of notable producers, including SKATLE, GVNT, MoodyPunk, AudioSimz, SK, Huds, MeloProducedIt, Nxrth, Nico, PrettyJay, IdroPyang, Moett The Goat, and Merc, whose beats beautifully complement his lyrical delivery and vocal stylings. This approach echoes the essence of the African Trap Movement, championed by fellow Zulu artist, Sjava.With this mixtape, Lowfeye has carved out an overarching narrative presenting himself as a well rounded artist. uMabulala sets a standard for artistic integrity and demonstrates the importance of cohesion and artistic vision in creating a successful project.

Connect with Lowfeye on Instagram: 

https://www.instagram.com/lowfeye__?igsh=c2htYW8wNnYzcGpq

Stream Mfana kaMakhulu here:http://africori.to/mfanakamakhulu

 

Artist Interview: Lowki The Great Discusses His Sophomore Album “Once Upon A Rhyme”

Bervon Micheni
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Artist Interview: Lowki The Great Discusses His Sophomore Album “Once Upon A Rhyme”

An artist that had dreams of being a comedian, Lowki The Great’s seriousness on the booth doesn’t reflect his class clown acts in High school. Describing himself as the full package, Lowki demonstrates his prowess on his new album “Once Upon A Rhyme”. This being his second Album, his catalog boosts of many a singles and his debut album “Rise of Greatness” . True to his words, this sophomore album is a testament of his manifestations.

Having grown up in the artist renowned hood of “Umoja” in Eastlands Nairobi, Lowki lives up to the rep of his hood by putting in immense work, a reflection of the youths of Umoja. Paying homage to local Umoja flagbearers “Wakadinali” he reveals he is inspired by Kenyan greats like Nyashinski as he aims to surpass his own imaginations.

HipHop Africa managed to catch the ever busy rapper and delve into the details of the artist and the project that he claims, shall change Kenyan HipHop forever.

First of all before the official questions even, allow me to ask, who is that woman in the intro sample?

 

Haha, that’s a good one. The woman you hear in the intro sample is actually a voice recording I stumbled upon of an RnB singer from the back from back in the day. 

The message was deep and it resonated with me and my vision for the sound of the album so I used it.

So can you tell us a bit about yourself? Who is Lowki The Great? 

 

Lowki the Great is a storyteller, an artist, and someone who represents the voice of a generation that’s unafraid to chase greatness. I was born and raised in Nairobi, and music has been my outlet since I can remember. I started making music seriously after high school in 2019, and it’s been a crazy ride ever since. My sound is a fusion of modern Afro beats and contemporary hip-hop, and I strive to stay authentic to who I am while still experimenting with new styles.

 

In an Interview with Trace EA, you mentioned you began your journey in High school, who did you listen to growing up and how did they shape your sound?

Growing up, I listened to a lot of different artists, Both local and international.I was intrigued alot of the urban sound that was vibrant in the Kenyan scene at the time; Mainly the calif and ogopa era. Artists like Jua Cali, Nyashinski,Prezzo and Mejja were one of my biggest influences from Kenya. Their lyricism and ability to tell stories through music had a major impact on me. J.cole was another one—his introspective style and the way he keeps his music real really shaped my approach to writing. I also vibed to old school artists like 2Pac, who was all about message-driven music. They all taught me that good music speaks to the heart and has a lasting impact.

Comparing your journey since “Step by Step” in 2019 to now that you have dropped your sophomore album ,”Once Upon A Rhyme”, how is the journey so far?

Man, the journey has been a whirlwind. Step by Step was my introduction to the scene—it was raw and unfiltered. Since then, I’ve grown so much both as an artist and as a person. Dropping Once Upon A Rhyme was like taking everything I’ve learned and putting it into something bigger. This album is more polished, it’s got a clearer vision, and it’s an authentic reflection of who I am now. There have been challenges, but I wouldn’t trade this journey for anything.

The Album is a 15 track masterpiece, how long has this been in the works and can you tell us the essence and aura behind the Album?

Once Upon A Rhyme has been in the works for about a year. The concept came from the idea of storytelling—my journey, my dreams, my struggles. Each track has its own unique vibe, but together, they create a narrative of growth and self-discovery. The essence of the album is really about reflecting on where I’ve come from while also looking toward the future. The aura is uplifting yet introspective, with Afro sounds laced with hip-hop beats to give it that global yet authentic Kenyan feel.

Tyrell has produced almost every song in your catalog, how did this bromance start and how is it when you work with other producers? 

Tyrell is like my brother, man. We’ve been friends since primary school and we just clicked instantly on a personal and professional level. He understood my vision from day one, and every time we get into the studio, it’s magic. We’ve developed this unspoken chemistry that just works. That being said, I love working with other producers too. Each producer brings a different vibe, and that pushes me creatively. But with Tyrell, we’ve built something special—he just knows how to bring out the best in me. 

How is it to be in the Kenyan Industry as an independent artist, and if the chance arose, would you sign to any label and if so, why? 

Being an independent artist in Kenya has its pros and cons. You get full creative control, but it also means you’re handling a lot of the business side on your own. It’s tough, but I’ve learned a lot. If the right opportunity came with a label, I’d consider it. But it would have to be a deal where I still maintain my artistic freedom. I’m not just looking for a label—I’m looking for the right partnership. 

In the track “Unaeza Tell” in the new Album you say. “Besides music kuna life hawajui na live” what life is that? 

Haha, yeah, that line hit hard. What I meant is that there’s a whole side of me that the public doesn’t get to see. People see the music, the performances, the social media, but there’s a personal side to Lowki that’s grounded in family, spirituality, and just trying to live a balanced life. I’m all about keeping things real, but I also like to keep certain things private. It’s about having that separation between the stage and everyday life.

In the song “Can’t stop the vibe” how did you settle on Sivel and Oze, it’s a different kind of vibe from the usual Lowki sauce?

I wanted something fresh for Can’t Stop the Vibe, and I knew Sivel and Oze would bring just that. I’ve been following their work for a minute, and they have this unique sound that blends so well with the Afro-urban style I wanted for that track. It was different, but that’s what I love about music—it’s about stepping outside the usual box. They came in, brought their A-game, and the rest is history.

You don’t use profanity in your music, do you think that separates you from the rest of the rappers making your music “Less Gangster” and does it bother you?

I’ve always believed that you don’t need profanity to make an impact. My message is strong enough on its own. I don’t think it makes my music less “gangster”—it just means I’m focused on the storytelling and the artistry. Does it separate me from the rest? Maybe. But I think that’s a good thing. I’m carving out my own lane. It’s not about being “gangster” for me—it’s about being real, and this is who I am.

You have mentioned that you love Nyashinski and Jcole artistry, do you feel you are on track to reach their levels and beyond?

I have mad respect for Nyashinski and J. Cole—they’ve both mastered their craft. I definitely feel like I’m on the right path to reach those levels. It’s a journey, and I’m all about putting in the work and letting my music speak for itself. My goal isn’t just to match them—it’s to surpass expectations and bring something fresh to the game. I’m in it for the long haul, and I’m ready to take things to new heights.

Finally, you have a subtle and clever way to deliver your lines, which artist in Kenya would you like to work with who you think has a similar flow? 

There’s a lot of talent out here, but one artist who stands out to me is Chris Kaiga.His flow is crazy, and he’s got that clever wordplay that I really vibe with. I think we could create something truly unique together. There’s also the likes of Scar Mkadinali, Karun, Blinky Bill,Steph Kapela and Njerae who have a unique sound and dope approach with their music and I think our styles could mesh well on a track.

 

The time for Lowki The Great is here, we can only wait and see what more he has instore for us.

 

Yvng Ceder Steps Boldly Into The Nigerian Hiphop Scene With Debut EP “Rage In Lagos”

Editor
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Yvng Ceder Steps Boldly Into The Nigerian Hiphop Scene With Debut EP “Rage In Lagos”

Stepping boldly into the Nigerian Hiphop scene with is debut EP is Yvng Ceder, hailing from the buzzing entertainment capital of the country Lagos city brimming with Stars and A-listers in Afrobeats and Alte sounds, Yvng Ceder’s debut project Rage in Lagos is a blend of new-age trap and elements from the city. Hiphop music not being the most popular genre amongst local artist from Lagos but highly influential amongst of millennials, Gen z and all ages, Hiphop, Trap and rap music is always going to be around and Yvng Ceder debuts with a sound that will definitely resonate with the youths and young adults and with consistency might put him on a part to greatness. The young artist was just an undiscovered artist posting videos on tiktok just  before the Founder/CEO of The IPO Group, Malcolm Manswell, came across his music and reached out to  the artist and that was the beginning of something.

“I found his page and I was like… How has  nobody heard this kid yet…? “I saw what he was trying to do and I knew right away that this  could be huge…” Shortly after reaching out, Yvng Ceder signed with IPO. “The way Malcolm and Cornell (IPO

The goal of the Rage In Lagos project was clearly to push and promote the young new sound of AfroRage. Elements  of Nigeria, Africa, and new-age trap music inspired the creative process for Yvng Ceder. “If you want to rock out  with the best, bring your a** to Lagos”, Yvng  Ceder raps on lead track “Rage In Lagos”. The young rappers  influences come from American  Hip-Hop artists Travis  Scott, Ken Carson and Destroy Lonely. We see Ceder weave in & out of  808’s putting a Nigerian spin on his version  of the AfroRage genre.

 

Rage, motivation, and  promise can be felt through the sounds of  the project. Especially with songs like  “Geekin’ Out(ro)”, which rounds out the  project and provides a romantic perspective  while also giving hope to listeners on  records like “Wake Up & Go Get Sum  Money” or “Money Time (Don’t Call)”.

LISTEN TO THE EP ON YOUR FAVORITE MUSIC STORE

https://vyd.co/RageInLagos

SOCIALS 

@YVNGCEDER

@THEIPOGROUP

 

 

 

 

Unpacking the layers : Usimamane’s Evolution from 19th to 20th Days Before MAUD

Milliswa Vilane
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Unpacking the layers : Usimamane’s Evolution from 19th to 20th Days Before MAUD

A debut album can be an artist’s make-or-break moment—a chance to go all out and stake their claim, especially when you’ve already got a “Song of the Year” to your name. And if you’re wondering who I’m talking about, it’s none other than Usimamane, the rapper from Umlazi, Durban, who blasted his way onto the scene with his breakout hit “Cheque.” The track now sits comfortably at over 3.6 million Spotify streams and more than 2.9 million views on YouTube. It’s a song that had everyone chanting “Ha We Mah” for weeks. From filling up venues and securing international bookings to inspiring TikTok challenges for his verse on Mashbeatz & Wordz’s “Imali,” Usimamane has had a whirlwind of a year. His YouTube-exclusive single “Biggest Kulture” clocked over 420 000 views in just a month . There’s no doubt that it’s been a phenomenal year for him, but the real question is: does his debut album capture all of that?

Usimamane- : “Biggest Kulture” (Official Music Video)

Born Omuhleumnguni Usimamane in 2003, he dropped his first album, “20th: Days Before MAUD,” an ambitious project stacked with features from heavyweights like Anatii, K.O, Okmalumkoolkat, Slim Ego, YoungstaCPT, Mashbeatz, Tellaman, Tony Dayimane, and Sjava. As one of the most anticipated hip-hop releases in South Africa this year, the album had a lot riding on it, especially with critics and fans labeling him a “one-hit wonder.” When I saw the tracklist a week ago, I was especially excited to see Nasty C on it. Not just because Usimamane has been vocal about his admiration for Nasty C, but because I had my own selfish reasons too. When “Cheque” dropped, a lot of fans were quick to draw comparisons between his sound and that of Nasty C or Blxckie. A collaboration with Nasty C could either confirm those similarities or prove just how different their styles actually are, much like when Blxckie’s “YE 4X” featuring Nasty C dropped and everyone finally saw how distinct their sounds were.

Usimamane- “Cheque” (Official Music Video)

 

So, what do I think about this debut album? Well, before I get into that, let me take you back to where my fascination with Usimamane started. It was last year, in December to be exact, when I stumbled upon his single “10th October”—a heartfelt tribute to his grandfather that also served as a canvas for his lyrical bravado. The way he effortlessly weaved between Zulu and English, doing so with an undeniably cool flow, immediately caught my ear. His clever wordplay had me chuckling, and his rhythmic delivery made that track a serious contender for verse of the year in my book. With just that one song, I knew he was something special.From there, I was all in, diving into his collaborations like “Ifilimu” and “Woah” with Tony Dayimane, where Usimamane’s presence was impossible to ignore. His relentless work ethic was clear—posting freestyles on YouTube, TikTok and Instagram Reels, making sure you couldn’t miss him even if you tried. Then I came across his debut EP, “19th,” and it completely blew me away.

Thoughts on 19th EP

Listen to “19th EP” Here

Released in July 2023, 19th is a trap-infused extended play with a succinct runtime of 24 minutes across seven tracks. Despite its brevity, the project serves as an intriguing introduction to who Usimamane is as an artist while simultaneously shrouding him in mystery, leaving listeners eager for what’s next. Standout tracks such as “Gibela Sambe,” featuring Tony Dayimane, exemplify this. The title, translating to “Ride Along,” reflects Usimamane’s ambition to invite listeners on an intimate journey through his life’s experiences.

Another standout, and arguably the project’s most commercially successful track, is “Better,” which has amassed over 740,000 streams on Spotify. In this introspective piece, Usimamane reflects on how far he has come, offering a raw glimpse into his personal growth and evolution. A personal favorite from the EP is “The Steppers” featuring Luka Pryce, an infectious track devoid of hooks, where the raw, unfiltered lyricism portrays the complexities of township life. Both rappers deliver vivid bars that depict how success often alienates those who’ve ‘made it’ from their communities. This sentiment echoes Jay Z’s famous quote: *“People look at you strange, saying that you’ve changed, like you worked that hard to stay the same.”* The track captures the tension between ambition and the expectations of those left behind—a challenge that comes with fame.

Other standout tracks include “Ghost,” which features Qwellers collective members LaCabra and Lowfeye, and “Phey’kwabo.” These songs bring a fresh, innovative flavor to South African hip-hop, with Usimamane deftly incorporating Durban slang and the Zulu language in a way that feels both creative and forward-thinking. This approach not only works well for Usimamane but also mirrors the success of fellow Durban artists like Lowfeye, LaCabra, Blue Pappi, and Leodaleo, who have similarly championed this distinct regional sound.

With a string of successful singles, impactful features, and the critically well-received 19th EP, expectations for Usimamane’s debut album were naturally high. Was the pressure too much for the young star? Perhaps, but that’s the nature of the game. The stakes were raised even further when, just a day before Usimamane’s album release, acclaimed Pretoria rapper A-Reece announced the drop of his mixtape “Kill The King” on Friday the 13th—an all-too-clear reminder that hip-hop remains a competitive, unforgiving space where every move matters.

Thoughts on 20th: Days Before MAUD

Listen to “20th: Days Before Maud” here

 

Allow me a moment to gather and present my reflections with the clarity they deserve. The album, for me, is decent but somewhat underwhelming. While not without merit, it lacks the cohesion and narrative flow that could elevate it from mediocrity to greatness. It feels like the work of an artist still grappling with the full scope of his star power. Usimamane’s true talent shines when he weaves contemporary trap with the vibrant soundscapes of South African hip-hop. However, on this project, he leans too heavily into Atlanta-style trap, overshadowing his more distinctive qualities.

While there are undeniable highlights, the overall experience lacks fluidity. The album’s sequencing disrupts its natural progression, making it difficult to enjoy as a cohesive body of work. A prime example is the jarring transition from “The Kulture” to “Upete” featuring Slim Ego and Okmalumkoolkat. Despite both being strong contenders with potential to chart on radio, the juxtaposition feels forced. I believe the hard-hitting trap energy of “The Kulture” could have set the tone for tracks like “Discounts” featuring YoungstaCPT and “Dangerous” featuring CaseKlowzed, maintaining a thematic and sonic consistency. Instead, “Star” featuring Morena, although heartfelt in its message to his mother, feels out of place due to its upbeat, pop-inflected sound.

This lack of cohesion speaks to a broader issue: Usimamane’s trap efforts fall flat, feeling derivative rather than innovative. The album’s heavy reliance on familiar Atlanta trap elements, particularly in tracks like “Can’t Hang” and “21,” fails to showcase Usimamane’s individuality. It’s as though the artist is stuck in the shadows of his influences, such as Gunna and the YSL crew, rather than forging his own path. This over-familiarity detracts from the emotional and creative impact the album could have had.

That said, 20th: Days Before MAUD does have its high points. “Cheque” remains a refreshing track with an infectious energy, and its smooth transition into “Bank” featuring ANATII and Tony Dayimane is one of the album’s most well-executed moments. The production on “Bank” feels meticulously crafted, with its rolling 808s, sharp hi-hats, and layered vocal hooks that strike a balance between braggadocio and celebration. ANATII’s hook, delivered in both English and Xhosa, brings a vibrant dynamism to the track, while Tony Dayimane’s effortless Zulu flow adds a sense of lyrical dominance and authenticity. Usimamane himself uses this song to celebrate his wins—“From a cheque to a bank, I need it all,”—a clear nod to his hunger for more success. The beat switch at the two-minute mark, intensifying with heavier trap elements, breathes new life into the track, creating a fresh layer of intrigue. This versatility in the production makes “Bank” one of the album’s finest moments, exemplifying how collaborative chemistry and thoughtful production can elevate a track beyond its core elements.

However, not all collaborations hit the mark. “Vegan” featuring Tellaman and Mashbeatz lacks originality, sounding like a recycled version of past Tellaman and Nasty C collaborations. The track’s stagnant production, with its predictable trap cadence and repetitive synths, feels uninspired. It’s a missed opportunity for Usimamane to push the sonic boundaries and experiment with something fresh. The themes of newfound success and struggle, though essential to his narrative, are delivered in a formulaic and surface-level way. The repetition in songs like “Can’t Hang” leaves little room for deeper introspection or emotional depth, further diminishing the album’s overall impact.

Where the album does truly shine, however, is in moments of vulnerability and storytelling. “Uvalo” featuring Sjava is a standout track that merges emotional rawness with lush, atmospheric production. The song begins with a haunting voice memo of a woman pleading for Usimamane’s vulnerability, her voice breaking with palpable emotion. The sparse, piano-driven beat allows Usimamane’s introspective lyrics to take center stage.Sjava’s contribution adds a rich South African texture, with his poignant storytelling and soulful delivery elevating the song’s emotional weight. It’s in this raw openness that Usimamane’s talent truly emerges, creating a connection with the listener that feels deeply human.

While the collaboration with Mashbeatz and Tellaman may have missed the mark, Usimamane’s partnership with K.O stands out as a defining moment on the album. The song , titled “Uphambene” (which translates to “You’re Crazy”), showcases a powerful synergy between a rising star and a veteran with legendary status. The production leans heavily into the hard-hitting, signature sounds of Durban trap, with pounding 808s and gritty synths that perfectly set the tone.

Lyrically, Usimamane asserts his loyalty to himself, his family, and his hometown, boldly calling out anyone who dares question his allegiance. K.O, on the other hand, delivers a masterclass in rap bravado, flaunting his longevity and dominance in the game. His bars, such as “Smoking on my opps nyaka wonkhe, that’s a long 4/20,” underscore his unshakeable confidence, further cementing his legendary status. “Uphambene” serves as a seamless fusion of youthful ambition and seasoned mastery, making it one of the album’s standout moments.

Another highlight is “Biggest Kulture,” a track where the production truly stands out. The song’s ethereal, hymn-like background vocals and mellow, introspective beat create a rich sonic palette, allowing Usimamane to reflect on his journey from obscurity to stardom. Lines like “Used to eat Shibobo, now I eat prawns” encapsulate his rise from humble beginnings, grounding his narrative in authenticity. Shibobo, a local kasi biscuit, is a culturally significant reference, adding a touch of realism to his story of success. The production is layered with soft vocal harmonies, warm basslines, and subtle hi-hats, crafting a reflective atmosphere that complements his introspective lyrics. Usimamane’s bar “Move quiet but amaMoves anoMsindo”(Move quiet but the moves make noise) cleverly juxtaposes his understated demeanor with his undeniable influence in the game, further reinforcing the central ethos of the song.

The album closer “Kude” offers a fitting conclusion to the project. Over a slow, afro-trap beat, Usimamane continues to reflect on his journey with a sense of gratitude and accomplishment. The title, translating to “Far” in English, aligns perfectly with the overarching theme of the track, where he celebrates how far he’s come  “Fike eGoli ngizozama imphilo now I’m fly as sh*t nginamaphiko”. Usimamane brings a personal and heartfelt closure to the album. The afro-inspired rhythms and layered percussion on this track create an uplifting yet introspective sound, allowing the listener to truly feel the weight of his journey.

In conclusion, while 20th: Days Before MAUD has moments of brilliance, it falls short of becoming a cohesive and groundbreaking body of work. The album’s production is technically strong, and the lyrical content shines in places, but it is weighed down by poor sequencing and a lack of thematic unity. Usimamane’s star power is undeniable, and his best moments occur when he embraces his own voice and unique sound. However, his over-reliance on familiar Atlanta trap formulas leaves much to be desired. With more focus on crafting a coherent narrative and exploring fresh sonic landscapes, Usimamane has the potential to deliver an album that not only resonates but leaves a lasting mark on the South African hip-hop scene. Will I revisit 20th: Days Before MAUD? Certainly, though not the entire body of work. I find myself drawn only to a select few tracks that resonate with me—and therein lies the problem.

Kenyan Female Rapper Vallerie Muthoni Releases Highly Anticipated EP ‘Vision 2020’

Bervon Micheni
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Kenyan Female Rapper Vallerie Muthoni Releases Highly Anticipated EP ‘Vision 2020’

Vallerie Muthoni, the Kenyan-American singer, rapper, dancer, and award-winning creative director, released her much-anticipated EP, ‘Vision 2020’, on September 20th, 2024. The project, her third EP, cements her status as a genre-fluid superstar on the brink of global stardom.

‘Vision 2020’ is an 8-track exploration of self-realization, growth, manifestation, love, and lust, all viewed through the clear lens of Vallerie’s unique perspective. Drawing from her experiences during the transformative post-COVID period from 2020 to 2024, the EP captures the essence of her journey as both an artist and a young African woman navigating a rapidly changing world.

‘Vision 2020’ is more than just music; it’s a manifestation of my journey over the past five years,” says Vallerie Muthoni. “It’s an expression of the growth, love, and self-realization that have shaped who I am today. I wanted to create something that resonates with people on a deep level, something that’s as reflective as it is uplifting.” The EP includes previously released singles such as “Dolla Signs,” a hip-hop anthem for aspiring billionaires, and “SEXY,” which has already amassed over 870,000 views on YouTube.

The Afro-pop lovers’ anthem “Say Something” featuring Bien-Aime Alusa of Sauti Sol, further showcases Vallerie’s ability to seamlessly blend genres, infusing Afro-pop with rap and alternative R&B.

In addition to her musical prowess, Vallerie is a multi-faceted creative force who has shared stages with global sensations such as Burna Boy, Nasty C, Sauti Sol, and Lady Leshurr. Her directorial and stylistic contributions to her own music videos, such as the viral hit “SEXY,” demonstrate her visionary approach to her artistry. Notably, her creative talents have also earned her prestigious sync placements and features in high-profile campaigns, such as Pharrell’s OTHERtone produced podcast and a L’Oréal East Africa digital campaign.

With ‘Vision 2020’, Vallerie Muthoni takes listeners on an intimate journey, blending her storytelling skills with powerful visuals and genre-fluid sounds that defy categorization. This project is not just a reflection of her past experiences but a bold declaration of her future.

In ‘Vision 2020’, Vallerie Muthoni stands poised to not only capture the hearts of fans but also to redefine what it means to be a global superstar in the 21st century. With her charisma, and creative vision, Vallerie is on the brink of achieving the kind of global stardom that only a few can dream of.‘Vision 2020’ is available on all major streaming platforms on September 20th, 2024.

Blkriva’s debut Anthem “Iyoooo” Showcases Nigerian Roots and Global Impact

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Blkriva’s debut Anthem “Iyoooo” Showcases Nigerian Roots and Global Impact

Blkriva is making a name for himself with his latest single “Iyoooo,” a powerful fusion of Igbo and English lyrics that bridges cultures and continents. Born in Enugu State, Nigeria, and now living in the United States on a basketball scholarship, Blkriva’s talents extend far beyond the basketball court. His debut track is a vibrant testament to his roots and his burgeoning music career, blending traditional Nigerian rhythms with modern beats to create an infectious sound that’s gaining traction on both sides of the Atlantic

The song “Iyoooo” is more than just an introduction to Blkriva as an artist—it’s a celebration of his heritage. By seamlessly weaving the Igbo language into his lyrics, Blkriva offers a unique take on contemporary Afrobeat, standing out in a crowded music scene. This cultural authenticity, paired with his passion for storytelling, makes “Iyoooo” not only catchy but deeply resonant for anyone familiar with the rich traditions of Nigerian music.

While Blkriva’s rise in music is remarkable, his life outside the studio is equally inspiring. Featured on major platforms like Fox 10, his humanitarian work is as notable as his artistic endeavors. Blkriva has been spearheading a project to ship used shoes back to Nigeria, an effort aimed at helping underprivileged kids pursue their athletic dreams. His initiative reflects his dedication to giving back to his community, showcasing the heart behind the artist.

As a student-athlete in Oklahoma City, Blkriva’s accolades don’t stop there. He was awarded the prestigious Pulsun Scholarship in 2024, recognizing his academic achievements and athletic prowess. Balancing a music career, basketball scholarship, and community-driven projects is no easy feat, yet Blkriva excels in every arena.

Blkriva is part of a new generation of African artists using their platforms to impact not just the music world, but the lives of those around them. With “Iyoooo,” he’s proving that his voice is one to be reckoned with, and his story is just beginning.

Groovy Jo Flexes Hip Hop Muscles in New EP, ‘A Groovy Affair’

Bervon Micheni
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Groovy Jo Flexes Hip Hop Muscles in New EP, ‘A Groovy Affair’

Fast-rising Kenyan femcee, Groovy Jo is set to
release her new EP, “A Groovy Affair” on Friday , 20th of Septermber, marking a triumphant return to her Hip-Hop roots. After exploring softer RnB and Afro-pop influences on her previous EP, “Pressure” “A Groovy Affair” showcases a diverse range of sounds, from the
summer-inspired track “Neck Chain” to gritty hip-hop narratives like “I’m Back”

Produced by versatile producers K6, Lemario, Dope-I-Mean, and Grammy-
Award winning D.O. Speaks, and mixed and mastered by rapper, songwriter, and
sound engineer Asum Garvey, ‘A Groovy Affair’ showcases Groovy Jo’s expressive
gifts, as well as her adaptability and genre exploration tendency.

 

“With this EP, I’m going back to the hard-hitting raps, still pushing for female
empowerment using provocative and raunchy lyrics in true Groovy Jo
fashion, I’m also paying homage to a few of my idols, hence the title “A Groovy Affair”

 

Groovy Jo is an artist that uses her bold and edgy lyrics to freely express herself
as an unapologetic Black woman, inspiring others to embrace their authenticity.
Her vibrant energy and confidence create a lively atmosphere, particularly
during her highly acclaimed live performances. Known for her clever wordplay,
Groovy Jo addresses stereotypes that limit female rappers, advocating for
women to assert their power and influence. Her music is a celebration of
resilience, individuality, and the fearless pursuit of one’s passions.

Groovy Jo introduces the EP with “I’m Back”; a witty comeback statement with
hard-hitting rhymes. In “Majirani” she unapologetically calls out fake industry
players and talks about upholding her values at any cost. Later, she pairs up with
Fena Gitu in “64 Bars,” a playful bar-for-bar exchange, paying homage to
rappers who came before her and encouraging listeners to always stand for what
they believe in and remember their roots. In “Joy Kendi” she celebrates the
Kenyan content creator, talks about discouraging comments in “Attention”
collaborating with meteorically-rising SA rapper Buzzi Lee, empowers women in
“Neck Chain” and finally celebrates support from friends in “To My Friends” .Other collaborators include Aurie in “On My Own”

“I have loved every step of the way while making this tape,While there were challenging times, the team I worked with supported me all through. Making and releasing music is overwhelming, but I’m quite fulfilled with this tape and I hope the audience can feel that through the music”

“A Groovy Affair” navigates through a spectrum of emotions, with Groovy Jo
asserting her hip-hop prowess while delving into themes of love, heartbreak,
and the joy of pursuing passions despite challenges. Each track is a testament to
her ability to blend hard-hitting beats with introspective lyrics, creating adynamic listening experience. Groovy Jo promises fans exciting projects, interactive content, and more
collaborations in future. As her new EP takes off, she continues to empower women through music and amplify the voices that have been silenced by oppressive and broken systems.

Lowki The Great set to release “Once Upon A Rhyme” Album

Bervon Micheni
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Lowki The Great set to release “Once Upon A Rhyme” Album

Artist Profile

Lowki The Great, one of Kenya’s biggest rap prospects, has established himself as a pioneer in the Kenyan hip-hop industry. Lowki has steadily risen through the ranks since he began his musical career in 2019, garnering praise for his inventive artistry and lyrical prowess.Having achieved success with songs like BADO SIJADECIDE, SONGA, MATIME, VILE INAFAA, and DREAMER, Lowki has established himself as one of the top 254 rappers.

 His style is a ground-breaking fusion of urban hip-hop and modern Afro rhythms, resulting in a musical experience that is both deeply culturally embedded and enliving. Owing to his unique approach, Lowki’s music is both distinctive and incredibly likable to listeners worldwide.

Album Overview
Lowki the Great’s highly anticipated second studio album, Once Upon A Rhyme, is set to be a landmark release, not only for his career but for the entire Kenyan hip-hop scene. Scheduled todrop on September 21st, coinciding with Lowki’s birthday, this album is more than just a collection of tracks—it’s a cinematic journey through sound, culture, and storytelling.
Building on the success of his debut album, Rise of Greatness, Once Upon A Rhyme
showcases Lowki’s evolution as an artist. With 15 meticulously crafted tracks, this album has been in the works for a full year, a testament to Lowki’s commitment to perfection. The album is entirely produced by Tyrell Dolla, the mastermind behind Lowki’s first album, ensuring that the signature sound fans have come to love is not only preserved but elevated to new heights.

A Cinematic Masterpiece made with sheer artistry, Once Upon A Rhyme is a fusion of Afro rhythms and contemporary urban hip-hop, with each track weaving a story that resonates with both local and global audiences. Lowki’s lyrical prowess shines through, blending introspective narratives with hard-hitting beats. The album is not just music; it’s an experience, a  cinematic masterpiece that takes listeners on a journey through the landscapes of Kenyan culture, the struggles and triumphs of everyday life, and the boundless potential of the human spirit. Every track on this album is a testament to Lowki’s artistic vision. From the anthemic bangers that will ignite dance floors across Africa to the deeply personal tracks that offer a glimpse into Lowki’s soul, Once Upon A Rhyme is poised to cement his legacy as one of Kenya’s most versatile and unique hip-hop artists.

Before the album’s official release, Lowki will host a series of intimate, invite-only listening
parties around Nairobi. These events will allow fans, influencers, and media personalities to
experience the album in a curated environment that reflects the themes and mood of Once
Upon A Rhyme. Each party will feature a live performance of select tracks and a behind-the-scenes look at the making of the album.


Once Upon A Rhyme is set to be a game-changer, not just for Lowki the Great but for the entire African hip-hop scene. With its rich blend of Afro rhythms and urban hip-hop, this album is more than just music; it’s a movement, a cultural statement that reflects the past, present, and future of African music. As Lowki prepares to drop this masterpiece on his birthday, the world will be watching, ready to witness the next chapter in the rise of greatness.

Benlay & Wichi 1080 Unite with Sastii for New Trap Anthem “Bese High,” Dropping On Friday

Milliswa Vilane
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Benlay & Wichi 1080 Unite with Sastii for New Trap Anthem “Bese High,” Dropping On Friday

South Africa’s rising Zulu pop sensation, Benlay, is preparing to unveil his latest anthem, “Bese High”, on 20 September 2024. The single features the masterful production of Wichi 1080 alongside the soulful contribution of Sastii, a prominent voice from the Qwellers Hip Hop Collective. “ Bese High” promises to be a triumphant sonic voyage, blending the emotional depth of striving for success with the exhilarating highs that come with it, set against the backdrop of today’s dynamic music landscape.

Cover Art For Bese High by Benlay featuring Sastii and Wichi 1080

Born Banele Mngadi in 1999, Benlay has quickly established himself as a standout force in the South African music scene. His unique, multifaceted sound—fusing elements of Hip-Hop, Afro-Pop, R&B, and Amapiano—has earned him high-profile collaborations with artists like Ginger Trill, Maraza, Indigo Stella, and Espiquet. Benlay’s versatility and adaptability reflect the broad spectrum of his influences, giving his music a rare fluidity that resonates deeply with a growing fan base.

Listen to “Trappa Kakhulu” by Benlay, LaCabra, Blue Pappi and Espiquet here

My first encounter with Benlay’s work came with his December 2023 release, “Trappa Kakhulu,” a trap anthem featuring Blue Pappi, LaCabra, and Espiquet. This track, dominated by punchy 808s and an irresistibly playful hook, exemplifies the infectious sound currently emanating from Durban’s burgeoning trap scene—a wave that is impossible to overlook. Benlay returned in June 2024 with the two-pack single “Uthando Lwemphilo“, featuring Maraza (of Gwan fame). The EP included standout tracks “Nodoli” and “Foreign,” both featuring Maraza. With over 25,000 Spotify streams and 31,000+ streams respectively, these releases firmly positioned Benlay as a rising star within South African hip-hop.

Listen to “Uthando Lwemphilo” by Benlay and Maraza here 

Now, with the release of “Bese High” Benlay pushes creative boundaries even further. The song seamlessly blends Afro-Pop, Hip-Hop, and Amapiano, delivering a smooth yet anthemic track. Wichi 1080, known for his collaborations with heavyweights such as Priddy Ugly, Rouge, and Shane Eagle, lends his signature hypnotic production, creating a lush, layered soundscape for Benlay’s vivid lyricism. The track is a delicate balance of infectious pop hooks and deep African-rooted melodies, underscored by Sastii’s emotive verse, which infuses the song with a soulful richness that elevates the listening experience. “This song represents the journey to the top, the euphoria of maintaining that high, and the inevitable struggles that come with it,” explains Benlay. “Collaborating with Wichi 1080 and Sastii was an unforgettable experience. We’re confident this track will resonate on a personal level with listeners.”

Listen to “Sweet Pull Up” by Benlay and Maglera Doe Boy here

Building on the momentum of his earlier successes—such as “Sweet Pull Up” featuring Maglera Doe Boy and the visually stunning ” Kuningi” music video, which paid homage to his hometown of Mandeni—Benlay is poised to make an even greater impact with “Bese High”. His unmistakable sound continues to expand, and this latest offering is set to leave an indelible mark on the South African music landscape.

Presave “Bese High” here:  https://vmgafrica.lnk.to/BeseHighAr%5D(https://VMGAfrica.lnk.to/BeseHighAr)

Follow and connect with Benlay here

Instagram: https://www.instagram.com/nangu.benlay?igsh=bmw2eTRjZWJjbW4=

Facebook: https://www.facebook.com/share/Usja9QSih2x7dPks/?mibextid=LQQJ4d

Contra Banz Prepares for a Major Comeback with New Project “HITMANALLDAYEVERYDAY”

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Contra Banz Prepares for a Major Comeback with New Project “HITMANALLDAYEVERYDAY”

Contra Banz, widely recognized as Eruku Flows, is gearing up to take the music scene by storm once again with his highly anticipated project, “HITMANALLDAYEVERYDAY.” Following the success of his debut project, “Birth of a Hitman,” released in 2020, Contra Banz has consistently proven himself as a dynamic force in the music industry, seamlessly blending genres such as Hip-hop, Drill, Afro-pop, and Dance.

Hailing from the vibrant regions of Kaduna and Abuja in Nigeria, Contra Banz brings a unique flair to the music scene with his mischievous yet captivating style. His ability to infuse a catchy, danceable Afro vibe into his music has solidified his position as the next big commercial Hip-hop and Afro-pop Dance hybrid artist.

“Birth of a Hitman” showcased Contra Banz’s versatility with tracks like “Contradiction,” “Ibadi,” “Jiggy Dance” featuring EESKAY, and the electrifying “Baddermann – Remix” with contributions from BlaqRose and Zumzy Brown. The project also included a powerful Sarz remake of “Komaroll,” further establishing his prowess in the industry.

With the upcoming release of “HITMANALLDAYEVERYDAY,” fans can expect a continuation of Contra Banz’s journey, where he will undoubtedly bring more of his signature spice and infectious energy to the table. This new project promises to be a testament to his growth and evolution as an artist, offering a fresh take on the fusion of genres that has become his trademark.

As anticipation builds for “HITMANALLDAYEVERYDAY,” Contra Banz remains poised to dominate the airwaves and dancefloors, further cementing his status as a trailblazer in the Nigerian music scene. Keep an eye out for this rising star, as he continues to redefine what it means to be a commercial powerhouse in the world of music.

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