Asum Garvey Delivers 18th Body of Work with Dawn, Releasing on His Birthday, 28 November 2024: A Coming-of-Age Mixtape Fully Produced Under His Nickname Malli, Written, and Engineered by Himself.
Fresh off his latest album in collaboration with Dr Reign, Asum Garvey displays his articulate production and ability to merge two of his talents to produce “Dawn.” Probably a very intimate project to self, Dawn is set to set a high end to the year for Assum Garvey, who has been on a release spree in 2024, while setting a perfect entry point into 2025.
“Woke up one day at 3 AM and everything in me told me I’m going to make a beat, and I did, and that was ‘Creaper,'” he says. Split into two disks, the project showcases the duality of Asum. Disk 1 is introspective, giving us a glimpse into Asum’s soul, while Disk 2 is more extroverted, with Asum taking in the world around him. The connecting theme is retrospection, an ode to the artistic journey undertook by the kenyan creative.
“Everyone around me had been telling me how I should be making beats, and sometimes even thinking I produce my music. I guess all that talk was brewing inside me as I worked towards it and tuned my ear to experience different sounds. I tried to produce for Asum what I felt could trigger him to go the hardest and most authentic.”
With that, Malli is the alter ego that powers the Asum Garvey side, like a power-up in a video game campaign journey.Asum Garvey is an artist who not only performs but is deeply involved in the creation of his music, including producing and engineering his own work under the alter ego Malli. He is carving out a unique space for himself, blending introspective and extroverted themes, as well as having a strong connection to his artistic journey.
Dawn was created during the godly/ungodly hours of the morning, hence the name. Split into two sides, it reflects both a dark side and a light side, much like the moment before the first light of dawn—the darkest hour. Asum captures that feeling in this mixtape.
Emerging from Umlazi’s bustling township streets, Tony Dayimane is a name poised to echo far beyond Durban and South African borders, carving his own space in the South African hip-hop scene with relentless tenacity. Known endearingly as a “Mlazi baby,” Tony is quickly ascending as a powerful new voice, blending authentic storytelling with the wide reach of social media. Unlike many artists attempting to breach the music industry’s closed gates, Tony turned to the democratic landscape of the internet, heeding Riky Rick’s galvanizing words at the 2017 METRO FM Awards: “Everything is living on the internet right now. So ,if you are a kid and you are watching this right now , forget radio, if they don’t let you play on radio,you better go on the internet and make your songs pop on the internet”, Tony took these words as gospel, launching his career through an unfiltered and unapologetic online presence, which quickly amassed millions of views across TikTok, Instagram, and YouTube. With longtime collaborator Usimamane by his side, Tony built a fanbase that thrives on his sharp-witted bars and electric freestyles, each new track acting as a testament to his Zulu heritage and the urban vibrance of Umlazi.
Just days before his highly anticipated debut album Red October: Induction dropped, Tony announced that his previous EP, Big Boy, had achieved platinum status according to the Recording Industry of South Africa (RiSA). For a rapper grounded in the raw realism of Umlazi’s streets, this was no small feat. My introduction to Tony’s work began with his single “Ifilimu,” a high-energy collaboration with Usimamane that not only captivated me with its lyrical agility but showcased Tony’s pride in making Zulu culture sound effortlessly contemporary. Tony’s work embraces his roots unapologetically, creating something distinct and irrefutably South African.
Red October Induction Cover Art
Released on October 25, 2024, Red October:Induction feels like a cinematic debut, a cultural manifesto that’s equal parts personal narrative and universal experience. The album includes an impressive roster of collaborators, featuring Usimamane, Okmalumkoolkat, Beast, Yanga Chief, Kwesta, Emtee, along with soulful contributions from Nomfundo Moh, Zawadi Yamungu, and Mnqobi Yazo. In its first week alone, the album accrued over 1.1 million streams, a testament to Tony’s swift and undeniable rise in a genre that’s making great waves in South Africa this year. Each track in Red October is an immersive experience, a lyrical memoir traversing the complexities of family, fame, love, and loyalty. From the candid introspection in “Family Matters” to the swaggering braggadocio of “Wishlist,” Tony Dayimane crafts a narrative that’s unmistakably Zulu and distinctly his own.By the album’s end, it’s impossible not to feel as if you’ve traversed the gritty streets of Umlazi with him, each track feels like a personal that highlights the rappers come up story.
Listen to Red October: Induction here
The album commences with the monumental track “iNDUCTION,” featuring ZawadiYamungu’s ethereal vocals that feel almost ritualistic. The song itself feels almost ceremonial, drenched in indigenous African soundscapes and featuring the haunting strains of the Makhweyane, with Zawadi’s voice wrapping around the production like a spiritual invocation, urging Tony to recite his praise names—“Mchunu, Macingwane, uNdabezitha, Nyanda yemikhonto.” Tony’s delivery, steeped in reverence for his lineage, becomes an audible embrace of his cultural inheritance. By calling out his mother, uMaDlamini, Tony roots himself in family and makes it clear that his rise to stardom is a shared journey, a tribute to the resilience of those who raised him.
“Khuphuka” shifts the tone with its breezy, flamenco-infused guitar riffs, a surprising yet fitting contrast to Tony’s assertive lyrics. The track chronicles Tony’s journey from obscurity to the limelight, from “classroom raps” to performances at major stages like Cotton Fest. It’s a triumphal anthem, tinged with nostalgic self-assurance as he recalls the influence of South African rap icons like NastyC and Cassper Nyovest. There’s a profound sense of ambition in his delivery as Tony displays an unshakeable belief in his ability to rise despite the odds. The track pulses with the resonating theme of dream-chasing, yet it remains grounded in the specific realities of South African youth and their resilience.
Tony Dayimane- Khuphuka ( Official Visualiser)
With “Mlazi Baby,” Tony Dayimane crafts a vibrant homage to Umlazi, his hometown, capturing its raw energy with each line. The beat is relentless, mirroring the pulse of Umlazi’s streets, where life brims with both struggle and celebration. “Bathi Umlazi Milano lapho, ikhaya yami lelo, yebo,” he declares, invoking Umlazi’s iconic status while asserting his loyalty to the place that made him. The song’s hook is hypnotic, designed to resonate in taxis, street corners, and clubs alike. In this song, Tony’s rapid-fire flow interlaces pride with reverence, creating a sonic monument to Umlazi that is as infectious as it is defiant. His rhythmic cadences pulse with a life force that mirrors Umlazi’s streets: fusion of resilience and revelry.
“Yaah,” featuring Okmalumkoolkat and BeastRSA, brings an exuberant playfulness that is central to Durban’s modern rap aesthetic. The track’s minimalistic beat serves as a backdrop for Tony, Okmalumkoolkat, and Beast to trade clever wordplay, embodying a confident, local swagger. Okmalumkoolkat’s line, “Shaya amaCombo acaka ne AI,” exemplifies the irreverent humor of Zulu rap, blending cultural savvy with contemporary cool. Beast’s contribution “ I beat entswembu kakhulu iyanghlolela, ngizoy’bamba nge Billiat, iKarma”, is a punchline that only South African football fans will fully appreciate, enriching the track with layers of hometown pride and clever cultural references.
In “Wishlist,” Tony Dayimane teams up with Hip Hop Veteran Kwesta, fellow Umlazi baby Usimamane, and the cool Yanga Chief to deliver a song brimming with rap bravado. The track’s stripped-down production allows each verse to shine with a raw intensity, as the artists lay out their aspirations with poetic exactitude. The song encapsulates the fierce ambition of South African hip-hop, where every line feels like a declaration of goals, dreams, and unrelenting dedication. The beat takes a step back, letting each verse unfold with deliberate intensity, layering their dreams and aspirations in poetic detail.
The album’s midpoint, marked by the “Siinaye” interlude, offers a haunting, contemplative pause. Siinaye’s voice resonates with an almost sacred calm, intoning words of affirmation: “Tony, they cannot bring you down; Tony, you gotta make us proud.” The interlude closes with intimate voice notes from Tony’s mother and grandparents, grounding the album’s ambition in familial love and support. This moment is both poignant and humbling, a quiet breather that balances the album’s high-energy tracks with a glimpse of Tony’s inner life, anchored by family and community.
“Family Matters,” featuring Mnqobi Yazo, delves even deeper into Tony’s personal narrative. It’s a raw, introspective track that addresses the absence of his father, contrasting it with the love he received from his mother and grandparents. Mnqobi Yazo’s vocals add a soulful gospel like depth, layering Tony’s verses with a sense of yearning and reflection. In this track, Tony navigates his past wounds with grace, transforming them into a heartfelt tribute to the strength of family bonds and the resilience he’s gained from them.
Tracks like “Love” with Nomfundo Moh and “Lonke” featuring Usimamane delve into the complex layers of love, weaving in both vulnerability and passion. The latter exudes a soundscape that fuses AfroPop and AfroBeats, showcasing a different yet impressive side of the Durban rappers, as they sing on the song.
The bold energy of rap’s braggadocio is seen on “Trap Ibhadi” featuring Emtee, where both rappers showcase their lyrical prowess, tapping into the pride and swagger essential to hip-hop. The next song “Dlala” has all the potential to become a staple in both clubs and the streets through the punchy beat, quintessential to Durban’s regional sound, and exuding Durban’s notorious rap hit culture: as the city itself is a city known to craft Hip Hop Hits. The album culminates with “Broke”, a bonus song defined by trap soundscapes and a punchy beat that pulsates with high energy. Broke is the perfect culmination to the album and completes Tony Dayimane’s story, as he concludesby recounting on life before fame, success and money.
Tony Dayimane- Broke ( Official Visualiser)
With his debut album, Tony Dayimane has crafted a luminary experience that serves as a window into his soul and a lyrical documentary of his life, his heritage, and his ambitions. Each song feels like a chapter, pulling listeners into the vibrant scene of Umlazi, the hard-won milestones, and the intimate spaces of Tony’s journey. His debut album is a powerful invocation, a reclamation of self, and an invitation for listeners to step into Tony’s world, on his own terms.
Rising Kenyan femcee and rapper, Saisa Ndabi, known for her dynamic blend of Hip-Hop and Kenyan musical influences, is set to make waves with the release of her empowering track. “Songa,” featured on her upcoming debut album, “Mambo Right”. The song champions self-empowerment, resilience, and the unwavering spirit needed to rise above negativity and challenges.
A year since her debut single “Sai Sai”, the rapper is set to scultpure her presence with her debut Album “Mambo Right”. In a HipHop scene that is pre-dominantly encompassed by her male counterparts, Ndabi Saisa aims to fortify her name in the game with the upcoming album after an year of back to back tracks. With recent tracks such as Stima featuring Alex Msafiri and Kasi featuring Tulia, Saisa has shown her ability to infuse her different styles of rap with fellow creatives.
With her background in PR and Marketing, Saisa has expertly harnessed her storytelling abilities to create music that resonates deeply with her audience. “Songa” is more than a song; it’s an anthem that encourages listeners to “fix their crowns” and push forward regardless of life’s adversities and detractors. The song exemplifies Saisa’s lyrical prowess and dedication to her craft, reinforcing her position as a force in the Kenyan music scene.
The accompanying visuals and Audio are in line with Saisa’s captivating style and fierce confidence, add depth to her message of self-belief.
Experience the anthem that’s sparking a movement. “Songa” by Saisa Ndabi – available now on YouTube,it will be out on all DSPs soon.
For more on Saisa and her music journey, visit her on social media:
The problem with growing up poor is, it creates an imaginary world of opulence that you would like to have. You chase imaginations of things you lacked as a child.The lack of basic things growing up often makes you want to avenge poverty in very diabolical ways. Khaligraph Jones is a prime example, and it is okay for him to get the things he wants.
Original Post by Khaligraph
Do I hate his new house? Not at all, does is matter? Not at all. Kenyans will joke about anything, but as part of the jokes, some people are actually serious and they hate his house, very hilarious.
Khaligraph Jones has been flaunting his new 100 million mansion for months, a sure show of success for the years and years of hardwork he has been putting in.Is he the best rapper from Kenya? Not really, Is he the most hardworking? Yes. Khaligraph Jones, real names Brian Omollo from Bondo, represents Kayole, a slummish ghettoish settlement at the heart of Nairobi Kenya. With the knowledge of his background it would be very unfair to castigate a man for fulfilling his dream. He is the representation of what a working man can achieve.
In a photo shared by Khaligraph himself, his mother was seen in all smiles seemingly enjoying the fruits of his son’s labour. I can assure you that the smile on his mother’s face is the only thing that matters to Khaligraph and not whatever Kenyans think. Who gives a heck if Kenyans On Twitter think his house looks like a mall? In very extreme photoshops, KoT have done stupendous edits in a bid to mock his new living quarters, with reasons best known to them. But let people have fun right?
In a story shared by Aress 66, one of the best producers and rappers to stem out of the 254, Khaligraph jones used to clean his studio in Umoja circa 2013 to get studio sessions. That is the man Kenyans want to regret building himself the exact kind of house he wished for because “Kenyans online don’t like it”. I don’t worship Khaligraph but I respect his hustle, he is one of the artists that have shown that there is money in art. The journey from being housed in Dandora by someone that let him sleep on their couch, to owning a big mansion, it shows progress, shows that your dreams can be achieved.
Expressway Photoshop
There exists a grandiose kind of feeling amongst Kenyans that is very baffling, as a critic of art, I understand it because I harbour the same syndrome too. Sometimes, I overestimate my opinion on something, it’s not normal but I will still do it. However we can appreciate the humor in Kenyans because we are a hilarious people, the problem is, we are too much in other people’s business.
Something about artists and athletes, we love the good life, the high and might. It is my opinion that Khaligraph is doing everything he wants because he can and there is absolutely nothing we can do about it.
In an industry where talent often goes unrecognized, Nigerian Hip-Hop artist Obuduboi, born Athanasius Unimke Ugbe, is setting the stage for a seismic release with his debut album, UNDERDOG. This project, dropping November 7, 2024, under OnlyTheGrindKartel (OTGK) and RADARCharts, is more than just music—it’s a bold narrative of resilience, ambition, and raw, unfiltered hustle.
Album Overview: A Voice for the Voiceless
UNDERDOG is Obuduboi’s defiant answer to the world. This eight-track masterpiece is a deeply personal and authentic exploration of his struggles as an emerging artist fighting for his place in the spotlight. From battling self-doubt to challenging industry gatekeepers, Obuduboi opens his heart to listeners, offering them a first-hand look into his journey. Set against the backdrop of Nigeria’s Hip-Hop and Trap scenes, the album captures the tenacity and hunger of an artist overlooked yet never defeated.
A Glimpse at the Tracklist
Each track on UNDERDOG has its own narrative, drawing from Obuduboi’s life experiences and collaborations with talented voices in the Nigerian music scene. Here’s a snapshot of the tracks that promise to resonate with fans and newcomers alike:
Wanna Listen – Setting the tone for the album, this Hip-Hop/Trap opener is a gritty invitation for fans to hear Obuduboi’s story, produced by JP Beatz and Xnoteorious.
123 – A unique Afro/Dancehall/Trap fusion that shifts the vibe while keeping the focus on his journey. With Xnoteorious at the production helm, “123” adds a dynamic flair to the project.
Pay The Fee – A high-energy anthem that speaks to the cost of success, “Pay The Fee” encapsulates the sacrifice and grind needed to make it in the industry, with production by Grandmix.
Wahala – Featuring Dhat Chumzy, Rabbai, and Yp4L, this Afropop/Afrofusion track dives into the highs and lows of navigating fame. Produced by Xnoteorious, “Wahala” underscores Obuduboi’s message that there’s strength in community.
Keeping Hope Alive – Another powerful track with Yp4L, this Hip-Hop/Trap entry balances lyrical vulnerability and optimism, representing Obuduboi’s resolve.
Comfortable – A lighter Afropop/Afrofusion tune featuring Jaga, Godor, and Xnoteorious that showcases a more relaxed, confident side of Obuduboi.
365 – Teaming up with Valviper, this Hip-Hop/Trap collaboration produced by Xnoteorious speaks to the year-round hustle and determination that fuel Obuduboi’s ambitions.
Halle – Closing the album on a high note, “Halle” features Dhat Chumzy, Lhiney2bad, and Yp4L. This Afropop track is an ode to the celebratory moments of success after hardship, crafted with Xnoteorious’s signature production.
UNDERDOG: A Project Rooted in Resilience
The beauty of UNDERDOG lies in its relatability. Obuduboi’s journey from Obudu, Cross River State, to carving his niche in the music industry is a story for anyone who has ever felt underestimated. The album’s fusion of English and Pidgin gives it a gritty realism that mirrors the artist’s Nigerian roots and urban edge. With influences from Afrobeat, Rap, and Trap, Obuduboi has crafted a sound that is distinctly his own, setting him apart in a crowded field.
About Obuduboi
Obuduboi’s impact extends beyond his music. As the founder of the luxury fashion brand Husslecraft, he has established himself as a multifaceted creative force, driven by the same grit that fuels his music. Managed by Cza of REM, Obuduboi’s journey is backed by a team that shares his vision for authentic, genre-defining artistry.
As he prepares to release UNDERDOG, Obuduboi invites listeners to join him on his path to success. His story is one of grit, heart, and unapologetic ambition—an inspiration for every artist fighting for a place in the spotlight.
Stream UNDERDOG Don’t miss the release of UNDERDOG on November 7, 2024
South African hip-hop is entering a new era as Cape Flats’ own Ziggy4x, one of the country’s most thrilling new artists, releases his debut EP, Gangsta Baby. Available now on all digital platforms, the project follows the game-changing single “Gunshots” featuring Blxckie, which has already ignited playlists and clubs across Africa with its gritty beat and fearless swagger.
Gangsta Baby is a seven-track tour de force executive-produced by BakerGotTheKeys, whose influence shapes much of project’s distinct, high energy sound. The EP also features production contributions from Herc Cut The Lights, Jaydon Lewis and Lotus Jojo adding layers of song depth that amplify Ziggy4x’s unique style. The EP is an unapologetic tribute to Ziggy4x’s roots, blending fierce storytelling with streetwise confidence and anthemic beats. Every track is infused with the essence of Cape Flats, capturing the unfiltered power, pride, and grit that define Ziggy4x’s journey. His distinctive style—grounded yet groundbreaking—signals the rise of a fearless artist ready to redefine African hip-hop.
Reflecting on Gangsta Baby, Ziggy4x says, “This EP is my love letter to the Cape Flats and to everyone who’s had to fight to be heard. Gangsta Baby is about stepping up, speaking out, and making an impact—on your own terms.”
Leading the charge is “Gunshots,” the EP’s wildly popular single featuring Durban’s powerhouse, Blxckie. Together, Ziggy4x and Blxckie have crafted an anthem that echoes across the continent, embodying a confident, unstoppable energy that has fans hitting repeat. Blxckie’s verse complements Ziggy4x’s raw delivery, bringing a melodic yet hard-hitting edge to a track that’s as bold as it is unforgettable.
Listen to Gangster baby on Spotify
Gangsta Baby is more than an EP—it’s a defining statement from one of the most promising talents South Africa has seen in years. Ziggy4x is setting a new standard, merging authenticity and ambition in a way that resonates deeply with fans across Africa and beyond.
Forever marks Kitticai’s first-ever collaboration and studio recording! (Shocker?) But first, who is Kitticai? Kitticai, a versatile creative known for UX design and graphic art (pssst… he designed the artwork)), is now stepping boldly into music—a passion he’s held onto for years. While Forever Together is his first collab, it’s actually his second release; his debut single, Magyal dem, cleverly riffs on Nairobi’s Sheng culture and the challenge of keeping up with various pet names for women
Kitticai
Teaming up with the talented Maggie Kay, a vocalist with a sweet, angelic voice, the two crafted Forever. Maggie, known for her work on projects like Let It Flow with Kayrop Music, brings warmth and soulful energy to the track.
The inspiration for Forever sparked from a “random” exchange of WhatsApp voice notes while jamming to a YouTube beat—which, funny enough, became the official beat for the song. Together, Maggie Kay and Kitticai tell a story about the cautious thrill of falling for someone special after a journey from friendship to romance.
Maggie Kay
The tone is a mix of bittersweet vulnerability and hope; Maggie Kay’s verse reflects a hesitant heart scarred by past “premium tears”—a phrase alluding to the emotional drama of Nairobi’s dating scene. Yet, the chorus, Forever, Whenever, Together, resonates with a sense of lasting commitment, echoing the universal hope of a love that stays strong against all odds.
Kitticai’s verse brings a lively, flirtatious mood, mixed with vulnerability as he and Maggie navigate their budding romance. His playful lines highlight the push-pull dynamic of their connection, especially with “Unanitext nakughost nani block.” The phrase “Story mingi achana nazo” reflects a desire to move past the drama of former relationships and focus on their current bond. Meanwhile, “Wakosanao ndo wapendanao” (Those who fight are those who love) captures the notion that conflicts can strengthen their relationship, making it both thrilling and authentic.
Overall, this song captures the excitement, hesitation, and complexity of young love, blending vulnerability with a hopeful, fun vibe. The urban sound, driven by Afrobeat rhythms from producer Till We Get There, features sweet chords and head-nodding drums. Combined with relatable lyrics, it resonates with anyone familiar with the Nairobi dating experience.
Credits
Michael Kitticai (@Kitticai ) – Singer, Songwriter & Performer
Maggie Kay (@MaggieKayy ) – Singer, Songwriter & Performer
Written by Margaret Kagundu, Michael Kitikai, & Sammy Njau Njoroge (Arrangement)
One of the best prospect in the Kenyan HipHop Industry, 4Mr Frank White released his much anticipated video “Commercial”. The song which features the half of popular BuruBuru duo Buruklyn Boyz, Ajay, is off his debut album “Definition:Real One”
A testament of his lyrical prowess and undeniable artistry, 4Mr Frank White has all the qualities to become a star. Ajay compliments his style with his unique flow and ability to smoothen a beat effortlessly. The result is as Kenyan pastors like to say “Self Explanatory”.
A sidenote would be how the project being a year old did not hinder Frank White from releasing the official music video, something that has proven to be a point of concern for Kenyan artists in Kenya.
The video is set in old plane yard, presumably befitting the “commercial” theme of the song. The dream of every artist is to what in layman language is called going commercial, where your music and brand have preceded yourself and you are listened to, streamed and booked for shows overwhelmingly. Commercial means you are most likely no longer chasing the money, but the vice versa. Brands and corporations approach you with intent of using your influence as a selling point for their product. Case in point, Khaligraph jones with Monster, Nyashinski with Tecno or King Kaka with Remy Martin just to name a few.
Ajay and 4Mr Frank White
A feature with Ajay Buruklyn Boyz is obviously a statement from Mr White of the intended direction of his career. Ajay has arguably had the best verse in 2024 in the hit song “Set It” featured by Dyana Cods. Despite all the circus surrounding the song since it was pulled down from Youtube, it is arguably the biggest song of the year and Ajay was at the center of it’s excellence. Mr Frank White releasing the video at the apex of his influence is a genius move.
The Westside rapper released his latest Album “Too Good To Be True:Pre Game” on October 2024, a 10 song project that is exceptional to say the least.
“Your favorite new-age rapper prolly follows to study my lingo,” 25K boasted on PheliMakaveli, his 2021 debut that introduced him as Pretoria’s raw and unfiltered narrator. On Pheli Makaveli, 25K declared himself Pretoria’s hometown griot, unflinchingly chronicling a life shaped by the streets of Atteridgeville. Curated by South African hip-hop sonic architect Zoocci Coke Dope, the album elevated 25K to a symbol of Pretoria’s hip-hop scene, sharpening his reputation as one of the key voices of Ispitori, the regional dialect he helped popularize. The debut came with its own lexicon: literally; a dictionary that translated his lyrics, drawing listeners into a world both foreign and familiar.
Listen to Pheli Makaveli here.
Three years later, 25K (aka Kilo or “Pheli’s own Makaveli”) returns with Loyal to the Plug: The Life and Times of Don Kilograms, an album that continues his journey without giving in to the dreaded sophomore slump. Staying true to his moniker, “The Plug,” a nod to his past life dealing drugs, Kilo reveals the scope of his evolution: luxury and designer grills may be his new reality, but his roots in Pretoria ground him still. Rather than crafting a slick, high-gloss production, Loyal to the Plug unfolds in gritty layers, guided again by ZoocciCoke Dope’s minimalist hand. This is hip-hop stripped down, where boom-bap’s rigid snare patterns meet trap’s sub-bass thump, resulting in a cohesive yet understated aesthetic.
Loyal To The Plug : The life of Don Kilograms cover art by Johnny Malepa
What sets Loyal to the Plug apart is the addition of actor Warren Masemola, whose narration weaves the project’s 15 tracks together. The Pretoria native’s rich baritone voice injects a sense of cinematic gravitas, creating the sensation of a guided tour through Kilo’s past and present. Masemola’s soliloquies evoke the hardship and pride of Pretoria, balancing political reflection with personal anecdotes that add documentary-like depth.
From left to right: 25K pictured with veteran actor WarrenMasemola.
Loyal to the Plug came after public skepticism over its singles. “2 Headed Goat” pairs Kilo with Maglera Doe Boy in a reflection on life’s turning points, while “Something Special” sidesteps the typical love ballad, its heartfelt tribute punctuated by Marcus Harvey’s earnest vocal textures.The song subverts the usual love ballad, becoming a heartfelt tribute to how love has kept Kilo grounded. As he says, “You the one who told me ‘Kilo, twela codeine’” .“Platinum” featuring Frank Casino, is characterized by an ominous tone with its sparse piano loop, but the track is held back by Kilo’s subdued delivery; it’s Frank Casino’s energy that brings the song to life.These singles, though polarizing, hint at the thematic duality of the project: gritty tales of street loyalty and occasional, surprisingly tender explorations of love and companionship.
Listen to Loyal To The Plug: The Life Of Don Kilograms here.
The intro begins with a monologue from Warren Masemola that paints a portrait of Pretoria from the inside out. As he recounts memories of apartheid and life after apartheid, he layers history with the socio-linguistic weight of identity, a reminder, as Trevor Noah wrote in Born a Crime, that “Language can define who you are to people even more than color.” Fittingly, Masemola, a Pretoria native himself, guides the listener through his own experience of South African history in Ispitori, grounding the story in a language that builds identity. This is met beautifully by 25K’s introspective stories, reflecting on how his life has changed, cleverly letting us into the life and times of Don Makaveli.
Loyal to the plug is a telescopic lens into 25K’s journey, reflecting his transformation from Pretoria’s streets to South Africa’s stages. In tracks like Phelibasas with Sjava and IWasBroke with rising talents Earle Fari and BerryJive, 25K honors his roots, reliving tales of survival and ambition. The song pulses with gratitude for Zoocci Coke Dope’s role in his journey, a brotherhood that goes beyond music, as the beats move listeners before they even notice. The theme continues with ProjectBaby II Interlude, where 25K revisits his rough upbringing in Atteridgeville, a crime-laden township in Pretoria, where he could’ve been in prison if not for music’s saving grace.
The recurring theme of loyalty versus betrayal surfaces repeatedly, notably in “Fake Love” with Focalistic. In Masemola’s monologue, we hear a candid disillusionment with South Africa’s unfulfilled promises post-apartheid: a stark reminder of the socio-political landscape that forms the album’s backdrop. The track “Real is Rare,” featuring Nasty C, reinforces the album’s ethos with its razor-sharp hook that cuts into the narrative of fractured friendships and lost loyalties.Nasty C’s masterful hook is the perfect assist, adding a bittersweet edge to Kilo’s journey through the chaos of loyalty and loss.
While 25K commands respect across the feature-heavy album, some tracks fall short. Deep Waters sees Marcus Harvey, A-Reece, and Maglera Doe Boy exploring layered emotions over a laid-back beat. A-Reece reflects on lost friendships, though his verse feels predictable; Maglera Doe Boy commands attention with a vivid portrayal of border life and ambition, dropping regional slang that reinforces his roots and gives the track an authentic edge. Similarly, TheUntouchables finds 25K outshone by Loatinover Pounds, who drops a football analogy referencing Ramos’s infamous tackle on Salah in the 2018 UEFA Final; a clever nod that grounds his verse in relatability.
In its finest moments, Loyal to the Plug reveals a surprising vulnerability. Tracks like “24 Bonnie & Clyde” with Mikhalè Jones offer a raw and unvarnished take on love as gritty and enduring as Kilo’s journey itself. Here, Kilo lets his guard down, crafting an ode as tough as it is tender: a streetwise love song shaped by survival, one where loyalty runs as deep as scars.In an album so rooted in survival, it’s refreshing to hear 25K let his guard down, even if only briefly, revealing a deeper layer of himself birthing a Bonnie and Clyde tale built for the streets.
One of the album’s standout moments comes from “The Resolve”, which features the late AKA in a posthumous appearance. Blending amapiano’s trademark log drum with an unmistakable energy, AKA’s verse brings a sense of warmth and nostalgia, giving the track a celebratory feel that feels worlds away from the album’s more somber tones. This is not the first time these stars meet, as AKA worked with 25K on his Culture Vulture remix in 2019.
The album’s closing is a fitting one: an extended version of “2 Headed Goat,” with Masemola’s narration serving as a final love letter to Pretoria. “South Africa is in Pretoria because Pretoria is its own country,” he asserts as he lists a number of talents that hail from Pretoria (Dj Maphorisa,Dj Bucks, Mordä, 25K and himself.). This solidifies the sense that “Loyal to the Plug” is a statement of pride and resilience. Alongside established artists like AKA, Sjava, A-Reece, and NastyC, as well as emerging voices like Berry Jive, Loatinover Pounds, and Flow Jones Jnr, 25K succeeds in creating an album that speaks to both past and present, a vivid portrait of Pretoria’s heartbeat.
Loyal to the Plug is a love letter to Pretoria’s distinct sound and soul. With each play , the album , grows rich and invites listeners into 25k”s world capturing the intensity of life on Pretoria’s streets and his unshakable loyalty to the city that made him. This makes Loyal To The Plug, a portrait of a rapper anchored in identity, pride, and survival.It’s a reminder of where Don Kilo has been, who he’s become, and the unbreakable loyalty that guides him through it all.
Publicists say there is nothing like bad PR, a very debatable point; however, they are the professionals, right?
Legendary Kenyan femcee Femi One released a new single, “Memories,” by Boutross Munene, and a funny thing happened on X (formerly Twitter) that made me think about the promotion discourse of music promotion in Kenya. Under her posting releasing the project, a Twitter user made a seemingly bizarre request and asked for the number of retweets he needed for the chance for just a touch of Femi One’s posterior.
Other social media users may be surprised by this, but on KOT{Kenyans On Twitter}, retweets are a form of currency that has gotten people jobs, cars, t-shirts, and shockingly today, a potential job. This would be a request that any artist would just ignore, but Femi One requested 5k retweets for the young fan to achieve his lifelong dream to touch the hem of her undergarments. KOT are keyboard warriors akin to our freedom fighters; hence, this was a very easy feat to achieve. Within a day, the young man was on a bus travelling to the capital city of sin, Nairobi, to achieve his fantasy.
As I watched all these unfold, it tinkered my memory of Kenyan artists using unorthodox means to pump up their traction before releasing new projects. People have faked marriage breakups and other diabolical things just to get traction on their new projects. As normal as this is globally, Kenyans, as usual, just do too much. Femi One, the Utawezana hitmaker, who was signed under Kaka Empire in 2013, has been what you would call a model artist since her debut on “Ligi Soo remix” by King Kaka. From onset, she has displayed discipline and dedication that can only be compared to Khaligraph Jones; you know what they say: success is 99% hardwork and 1%.
Femi One mastered the art of doing her job with minimal fuss, a factor that has earned her the trust of international brands like Monster. This was not her rollout plan at all; it was just a fan pulling a stunt that worked in his favour. Did the song get an audience on the first day? Yes, it did. Is it a sustainable business model? Not really.
However, this begs the question: why do some Kenyan artists feel the need to use diabolical means to promote their music? Our backsliding gospel artist, Bahati, has always been doing this; it works for him. He grew from a boy from Mathare to a global superstar, but not because of his music essentially, but gimmicks that I vehemently hate. From cheating scandals to cross dressing with his wife, that is just how he does it. The old Englishmen said, Don’t hate the game, hate the player.
There is a very wide line between content creation and making music; music is a religion, an art, a dedication to show respect to those that came before. Of course not all artists are good, but all musicians are artists. What our Kenyan artists have decided not to appreciate is the fact that music is not just recording and releasing; there is a team that you should engage behind the scenes to ensure your music achieves the intended purposes. Engaging public relations, publicists, artist managers, and legal consultants is the backbone of any successful artist. To avoid copyright tussles and protecting your intellectual property, our artists need education on the whatabouts of the corporate side of music. This gimmick of “Kiki” does work, but it is not a sustainable way to success. I know what you think. What knowledge do you have to lecture artists? Trust me, it’s a lot.
That said, the Kenyan industry is full of immesuarable talent; that is not in doubt, however, we need education deeply entrenched to help us join our East African counterparts on the global map. Tanzania and Uganda concentrate more on the music, or “Kiki” that pays.
Think of Diamond Platnumz vs. Harmonize, a manufactured beef that has generated income and fame for both parties without necessarily risking their reputation. Both of these artists have a team of professionals behiond them that are literally off the studio, proof that you can’t be a Jack Of All Trades.
I say all this to mean, let’s get more serious as an industry, and I hope the young man get’s to fulfil his dream of getting his hands on Femi One’s posterior.
