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.
Rising Kenyan Artist Kxffy Releases New Pop-R&B Single “What You Want” Featuring King Kerby: A Soulful Exploration of Unreciprocated Love.
Kxffy is a Kenyan artist, producer, and songwriter known for blending emotional lyricism with captivating melodies. With a strong foundation in R&B and trap, Kxffy crafts music that reflects personal experiences, love, and the complexitie s of human emotions. Having collaborated with some of Kenya’s most talented artists, including King Kerby, Vallerie Muthoni, NJERI, Sabi Wu & PRXNCE, Kxffy is poised to become a notable name in both the local and international music scenes.
Kerby, featured on “What You Want”, is a dynamic artist, vocalist and songwriter, known for his smooth delivery and introspective lyrics. His collaboration with Kxffy brings a unique flavor to the track, adding a sense of balance and reassurance to the song’s overall theme of unreciprocated love.
Kxffy is excited to announce the release of his latest single “What You Want,” featuring King Kerby. The deeply emotional and soul-stirring track reflects on the experience of giving your all in a relationship, only to realize that the love and effort aren’t being appreciated or reciprocated. With a blend of smooth vocals and heartfelt lyrics, the song is set to resonate with anyone who has been caught between staying in an unbalanced relationship or letting go for their own well being.
In the words of Kxffy, “the song is about the feeling you experience when you realize you’ve done everything to show love to someone, but they just don’t seem to see it. It’s that point when you start realizing it’s time to move on, even though you do love the person.”
Kerby’s verse complements this emotional narrative perfectly, offering a voice of reassurance that love, while challenging, can be worked through if both parties are willing to put in the effort. His vocals add a deeper layer to the song, reminding listeners that even though love is complicated, it’s worth trying to make things work.
Speaking on the production process, Kxffy shared, “I made the beat at around 3 AM at night when I was reflecting on my own experiences with love. I wanted to make something that really captures that bittersweet feeling of loving someone deeply but also feeling tired of being the only one putting in the effort.”
Once the foundation of the track was set, Kxffy met up with King Kerby who added his vocals, bringing a new dimension to the song with his heartfelt verse. The two artists’ chemistry and connection are evident in the final product, blending seamlessly to tell a shared story of love’s highs and lows.
Beyond the single itself, “What You Want” serves as a prelude to Kxffy’s upcoming EP, which will dive deeper into themes of love, heartbreak, and personal growth. It’s a new era for Kxffy’s music, as he steps into releasing songs performed and written by himself. It is also the closure of an era since this EP will bring his debut album ‘Tears & Purple Emotions’ full circle. The EP, set to be released next month, will include “What You Want” alongside other tracks that showcase his versatility as an artist and producer. The EP will mark a significant step forward in his career, as he looks to cement his place in both the local and international music scenes.
Be sure to follow Kxffy on social media for updates on the upcoming EP. For media inquiries, interviews, or additional information:
Emerging Sotho rapper Zepa release a trap inspired debut Album ESC TO NiRVANA. The young rapper is determined to to make his mark in the south African hiphop industry in general with a debut album that is a dynamic blend of raw talent, infectious beats, and lyrical depth, establishing Zepa Boy as a fresh voice in the rap scene.
The album’s lead single, ‘LiL DiD i KNO,’ has already created a buzz among fans and industry insiders alike, showcasing Zepa Boy’s signature style,sharp lyrics, powerful storytelling, and an energetic delivery. The full album takes listeners on a journey through his experiences, struggles, and aspirations, solidifying his reputation as an artist to watch.
Listen to Welcome to NiRVANA on Spotify
Ahead of the album launch, Zepa Boy released two tracks, ‘THE ESCAPE’ (feat. SRN & Nickson Thabane) and ‘WELCOME TO NiRVANA’ (produced by Draco) on October 25, 2024, both receiving enthusiastic feedback and building anticipation for the album’s full release.
“ESC TO NiRVANA is more than just an album,it’s a story of self-discovery, dreams, and the pursuit of a better life,” says Zepa Boy. “I can’t wait for everyone to experience it. This project reflects who I am and where I’m heading.”To celebrate the release, Zepa Boy has planned an exciting lineup of promotional events, including a high-energy live performance at the Lakers House Party on November 16, 2024. Fans can expect an unforgettable night as Zepa Boy brings his music to life on stage.
Grizzly bears are renowned as one of nature’s most formidable predators, especially when provoked. Known for their speed, being the fastest of their kind and their unparalleled bite force, they embody raw strength and dominance. It’s no wonder Eswatini-born rapper Grixxly chose to mirror his identity after such a beast. The name suits him, reflecting the ferocity of his lyricism and the way he maneuvers through flows with precision and unpredictability, much like a grizzly’s swift yet calculated strike. This very essence of danger and excitement is what I feel with his latest single, “Si Kasa”, featuring Eswatini’s RnB sensation, Mzwaa; an untamed force paired with soulful finesse.
It was in the fateful year of 2021 when I first encountered the lyrical prowess of Grixxly (born Sibusiso Malambe), an Eswatini rapper who would later etch his name into the annals of my musical obsessions. His debut extended play, “As the Fruits Ripen”, delivered a five-track symphony of thought-provoking verses, wrapped in the rich soundscapes of conscious rap and underscored by themes of growth, self-reflection, and the relentless pursuit of artistry. Self-produced and exquisitely curated, this 15-minute project painted vivid portraits of Grixxly’s journey from the heart of Mbabane, the capital city of the Kingdom of Eswatini. With each track, from the lyrical finesse on the intro “Blank Canvas” , to the ardent hunger for success in “Brema to Rio,” featuring Oriiginelle, to the contemplative poetry of “Said It,”Grixxly laid bare his soul. It became glaringly clear; this was no ordinary rapper; this was a lyrical visionary poised to breathe new life into Eswatini’s burgeoning hip hop scene.
Despite the bold statement he made with “As the Fruits Ripen” , Grixxly then retreated into the shadows, leaving fans, including myself, in quiet anticipation. Perhaps, this withdrawal was fitting, after all, when one has offered the world their tour de force, there may be no immediate need for another proclamation. Yet, Grixxly was never entirely absent from the sonic landscape. In 2022, he produced “A Thou Nyana” , a masterpiece by Oriiginelle featuring Swiss. Then in 2023, Grixxly re emerged on the remix of the same song, collaborating with Milkie, Nino Fresko, and PDot O, delivering what I consider the standout verse of the track. His distinct ad lib, “Ekse, It’s Too Much,” instantly became a memorable signature. Soon after, Grixxly gifted us a reflective single “Feel Me” , a candid reflection on his hiatus from music, personal loss, and the burden of expectations. He wrestled with the painful question of how much one must morph their identity to meet the ever-pressing demands of those around them.
And now, in 2024, the mystique has lifted. Grixxly has returned, fully immersed in his craft, starting the year strong with the release of “MusaWenkhosi” ( which translates to God’s Grace) on the 1st of March. A drill-infused anthem, the song was an ode to divine guidance, introduced to the audience through a gripping gospel themed rollout. In fact, for this rollout Grixxly gave himself the moniker “Bishop Grixx Lee Jakes” , to fit with the theme of the song. The rapper also took this as a chance to introduce his fans to a side of him that they hadn’t yet experienced by seamlessly blending siSwati and English. “MusaWenkhosi” resonated deeply with the people of Eswatini, dominating the local Eswatini Broadcasting Information Services (EBIS) radio charts for weeks on end.
His next offering, “No Mistakes”, a collaboration with fellow Eswatini rapper Amarii, dropped in April, a song I confidently assert as a contender for Eswatini Hip Hop Song of the Year. This flawless track not only cemented Grixxly’s place among the upper echelons but also earned him a coveted appearance on The Nadeska Show on Apple Music as Africa’s Rising Artist of the Week.
Today, on the 25th of October 2024, Grixxly strikes again with his latest single, “Si Kasa” , featuring his Antidote Music label mate Mzwaa. The track permeates with both buoyancy and silent desperation, echoing the artist’s enduring question, “When will the sun shine on us?” Over a self-produced beat infused with horns and piano that dance between the light and the dark, Grixxly demonstrates his masterful flow in siSwati. The emotionally charged beat switches, paired with Mzwaa’s poignant guest feature, create a soul stirring experience that serves as a reflection on the power of perseverance. Mzwaa’s verse elevates the track to new heights as he takes an unexpected swing into rap, showcasing his versatility and joining the ranks of RnB artists who can seamlessly switch genres. In fact, it’s as if Christmas came early, with Mzwaa delivering an unanticipated but welcome gift to his listeners. Grixxly delves into his unyielding dedication to his craft and the faith that his efforts will one day bear fruit. He leaves us with a powerful reminder: stumbling is inevitable, but the journey demands that we press on: undaunted, resilient, and always ready to try again.
As Grixxly remains firmly positioned among Eswatini’s upper echelons , one can only hope the rapper has more music in the pipeline. What’s truly bold about an artist like Grixxly is his refusal to be confined by genre or style. From experimenting with trap beats to delivering thought-provoking lyrics and compelling storytelling, he proves he can do it all. In the meantime, I’ll be revisiting his entire catalog, exclaiming “Ekse, it’s too much!” every step of the way.
Nigerian music sensation Chucky P is back with a bang, dropping a brand-new hip-hop track titled “WUSALU.” Known for his unique blend of highlife and Afro-pop, Chucky P (born Ohaenyosi Chukwuemeka) has been a force to be reckoned with in the Nigerian music scene since 2010. With “WUSALU,” he steps into the hip-hop realm, showcasing yet another side of his immense talent.
A Decade of Musical Excellence
Hailing from Anambra State, Chucky P has spent over a decade perfecting his craft, earning recognition for his deep, soulful voice and ability to fuse traditional highlife rhythms with modern Afro-pop sounds. Hits like “Mmadu” and “Cinema” have cemented his reputation as one of Nigeria’s most versatile and innovative artists, while songs like “Oso” have showcased his lyrical depth and knack for storytelling.
But with “WUSALU,” Chucky P is making a bold statement. The track is a dynamic blend of hard-hitting hip-hop beats and powerful lyricism, proving that he can seamlessly transition into different genres while maintaining the signature style that has won him fans across Nigeria and beyond.
“WUSALU”: A Hard-Hitting Reflection
WUSALU is a track that speaks to the hustle, the grind, and the determination it takes to rise above challenges. With its gritty production and Chucky P’s commanding delivery, the song is an anthem for anyone pushing through adversity. Chucky P’s verses are filled with energy, highlighting his ability to craft lyrics that resonate deeply with listeners while staying true to his roots.
In “WUSALU,” Chucky P dives into themes of ambition, resilience, and the realities of striving for success. The track’s title, WUSALU, reflects these themes, calling on the listener to push past obstacles and stay focused on the ultimate goal. It’s a motivational anthem that blends the hard edges of hip-hop with the soulfulness Chucky P is known for.
Expanding His Legacy
For over a decade, Chucky P has continued to evolve as an artist. From his highlife and Afro-pop roots to his new ventures in hip-hop, his ability to adapt and excel in different genres is a testament to his dedication and artistry. “WUSALU” represents more than just a new release—it marks the next chapter in Chucky P’s career, one where he expands his sound and continues to captivate audiences with his musical prowess.
His fans, both old and new, are eager to see what this new direction brings as Chucky P continues to carve out a space for himself in the Nigerian music industry. Whether he’s delivering soulful melodies or hard-hitting bars, Chucky P’s versatility and passion for music shine through in every release.
A Must-Listen for 2024
WUSALU is poised to make waves across the Nigerian hip-hop landscape. Its infectious energy, combined with Chucky P’s undeniable talent, makes it a track that’s sure to be on repeat for fans of the genre. As he continues to evolve and break new ground, there’s no doubt that Chucky P remains a vital voice in the music scene.
With “WUSALU,” Chucky P once again proves that he’s a powerhouse, not only in the Afro-pop and highlife arenas but in hip-hop as well. This is one release you don’t want to miss as he continues to inspire listeners and push the boundaries of his sound.
Be sure to check out “WUSALU”—Chucky P’s newest anthem of determination and success!
Micshariki Africa is a one stop shop that began with the goal of supporting and promoting the underground Hip Hop music, Kulture and the art scene from the East African Region.The objectives achieved by reviewing albums, mixtapes and EP’s, interviewing emcees, pro- ducers, graffiti artists, painters, graphics designers and all viable showbiz shareholders.
Kefa Mkombola, also known as MkoKeNya is a Hip Hop fan, poet, writer, Hip Hop con- noisseur and the owner of East Africa’s underground Hip Hop platform and website Micshariki Africa.
Kefa Mkombola
Born and raised in Mombasa, MkokeNya as he is popularly known by his poetic name has been working in management position in an engineering firm for the past 10 years in Tanzania where he is currently residing.
To ensure broad readership, their articles are in both Swahili and English whilst having in place various products that keep readers and listeners educated and entertained. MicShariki have music playlists that give HipHop listeners the opportunity to catch up to the latest Hip Hop music from Tanzania on Tuesday (Tues- day Twenzetu) and Kenya on Friday (Friday Furahiday). There is also curation of all the new projects that are dropped by the artists be it singles, EPs, Mixtapes or Albums.
In addition to articles and playlists. MicShariki have also started an audio and video Pod- cast together with a monthly Hip Hop award (Micshariki Africa Emcee Of The Months Awards) that seeks to recognize the best em- cee/lyricist each month. Micshariki Africa is also one of the founder members of the hottest and most about cypher in the region, Door Knockers Cyphers.
The cypher was started with the aim of assisting Hip Hop emcees from the region to work together. So far we have done 4 episodes and worked with over 30 different emcees both male and female from Kenya, Tanzania, United Kingdom and USA.
Shule is the Swahili word for school/education and was used here to show that Shule (Adam) is the tutor offering Shule (lessons/education) to his fans and listeners. This project is all about educating and entertaining our fans by ad- dressing issues affecting our society such as health (both physical and mental), education, financial literacy, speaking out against GBV, occupational safety and much more.
Adam who is one of the finest Swahili lyricists from the region has 2 Mixtapes (Moto Umewaka, Chi), 2 (ANKO, Uwanja Wa Fujo) individual albums and an EP (Kutoka Kwangu Kuja Kwenu – K.K.K.K) to his name. He also has 4 different projects under his belt with the rap group Dom Down Click (D.D.C) (DIRA, Fasihi Simulizi, Mechanism The Mixtape, The Element 2).
After having been a fan of Adam Shule Kongwe for some time we decided to team up and work together on a project considering that it was with him that I first shared my ideas of having a Hip Hop blog. Adam joined Micshariki Africa’s Swahili editorial team and the creative department.
Eswatini’s hip hop scene pulses with vitality in 2024, a symphony of fresh talent and creative ambition. From Oriiginelle being in similar rooms with American rapper , Mick Jenkins, to Amarii and Grixxly making No Mistakes , and Phatzus making his way to being the unapologetic trap god: it’s crystal clear , the youth of Eswatini Hip Hop is crafting an undeniable movement.
Amidst this surge of artistry, one name rises above the din with a unique rhythm: LiveLoveLxnce (born Lance Dubber). Introduced to me through a series of dynamic collaborations with Amarii, on tracks like I Don’t Care from Oxytocin, Never Be a Thing, and Party; Lxnce’s voice and presence has become impossible to ignore. Yet, it was last year’s Made It Here that marked a turning point. Gritty and unflinching, the track echoed with the raw hunger of an artist chiseling an artistic legacy. It was a declaration, a signal flare: the rising star from Manzini had arrived, and he was not here for fleeting moments.
In 2024, Lxnce is far from idle; he is deeply entrenched in the grind, collaborating with his collective, BysKlub; a coalition of fiercely independent artists, including Phatzus, TrentNicks, and sonic architect Golden Oldie. Together, they are reshaping the contours of Eswatini’s hip hop landscape. Tracks like TheSame, produced by Golden Oldie, and the electrifying Catch & Release, alongside Phatzus, showcase Lxnce’s ability to effortlessly glide across genres. He weaves through beats and ambiances with a dexterity that only comes from an artist deeply attuned to his craft.
Then, on October 19, 2024, Lxnce unveiled The Real, a song that reverberates with unapologetic swagger. Produced by GoldenOldie, this latest single is an anthem of self-possession, a bold crescendo that signals Lxnce’s evolution. With each bar, he steps further into his artistic power, unshaken and unafraid to experiment with his sound while remaining deeply grounded in his lyrical truth.
Listen to The Real here:
In our conversation, Lxnce reflected on The Real and the creative process behind it. His words revealed an artist who views his craft as an extension of his identity, expressing a relentless pursuit of authenticity in a world quick to favor artifice.
Exclusive interview with LiveLoveLxnce:
Milliswa: Your latest single The Real has this bold, confident energy. What was the inspiration behind the song?
Lxnce: The inspiration comes straight from within. I’m always reflecting on my own process—my life, my grind. The Real is a direct expression of what I go through daily, turning those experiences into music.
Milliswa: In The Real, you fully embrace rap bravado. What message were you aiming to convey to your listeners with this song?
Lxnce: The bravado is really a reflection of how deeply I’m leaning into my craft, how it makes me feel when I immerse myself in my rap element. The message I wanted to send is simple: I’m back with a fresh, elevated energy. New sauce, as I like to call it.
Milliswa: When I see the title The Real, I get the sense that it’s a song about embodying your truth. Can you tell us what “the real” means to you personally and as an artist?
Lxnce: The Real is all about authenticity. It’s about being exactly who I say I am, no gimmicks, no filters. On this track, though, I’m referring to that moment “when things get real”; it’s an ode to pushing through, even when the odds are stacked against you. It’s about resilience and never backing down.
Milliswa: How does The Real differ from your previous releases like Made It Here or KeanuReeves? What new side of yourself were you looking to showcase?
Lxnce: Honestly, I see The Real as an extension of Made It Here. It’s me embracing my rap roots fully, no distractions, just bars. Sure, I can make fun or commercial stuff, but my love for rap started with lyricism, and that’s what I’m here to showcase. The pen has to stay sharp, always.
Milliswa: You’ve been working a lot with producer Golden Oldie lately. How did that relationship come to life? And what’s it like working with a producer of his caliber?
Lxnce: It all started when Groovy (Golden Oldie) started sending me beats. Once we connected, things just clicked. His sound complements my rap style perfectly, and everything just fell into place naturally. It’s a blessing to work with someone who gets the vision.
Milliswa: The production on The Real has a hard-hitting, unapologetic vibe. What was the process like working on the beat and lyrics for this track?
Lxnce: It was a pretty interesting process. The beat was a collaboration between myself and Golden Oldie. Once I laid down the concept, they both knew we had something special. From there, it was just a matter of running with it.
Milliswa: Do you see The Real as a turning point in your career? How do you think it reflects where you’re headed musically?
Lxnce: Iwouldn’t call it a turning point, more like a stepping stone. The Real showcases my skill set and proves I’m equipped for anything. My goal is to show people that I can really rap: no façade, just love for the craft. This is just one chapter in a much bigger story.
Milliswa: You’ve got a lot of energy in The Real. How did you channel that into the recording and performance? What was the vibe in the studio like when you laid it down?
Lxnce: Honestly, it was super laid-back. I recorded myself, while Groovy and Nathan Masters, who engineered the song handled the rest. There was no dramatic scene: just chill vibes. When we hit playback, we knew we had something fire on our hands.
Milliswa: Tell me more about the BYSKLUB collective and how it came to be.
Lxnce: BYSKLUB is a group of independent artists who are serious about making a mark on the hip hop scene here in Eswatini. We met through Golden Oldie, and since then, we’ve been working together to elevate the game. We’re here to bring something new, something real.
Milliswa: BysKlub seems like a close-knit collective. How do you and the other members push each other creatively?
Lxnce: We support each other with whatever anyone needs, whether it’s feedback, production tips, or just motivation. There weren’t many “grootmans” to guide us through the local music scene, so webecame our own. We keep each other grounded, and that’s why we trust our own circle.
In Picture: Members of the BysKlub Collective: Phatzus, Golden Oldie, LiveLoveLxnce shot by Soxx_Sd.
Milliswa: Growing up in Big Bend and later moving to Manzini (the 505), how have your experiences in these places influenced your music and the stories you tell? Why do you identify mostly as a 505 rapper?
Lxnce: Big Bend connects me to my mother’s side, but I left when I was two. Manzini, though, raised me, that’s where I became the 505 rapper. My father raised me here, and it’s where I discovered my love for music.I’m proud to represent Manzini because this is where my journey began.
Milliswa: In tracks like Made It Here and Right Now, you reflect on your journey. How do you feel you’ve grown as an artist since you started releasing music in 2020?
Lxnce: Every experience, every challenge I’ve faced has been part of the process. I’ve learned to trust that everything happens for a reason, and I wouldn’t change a thing. Since 2020, it’s been about finding my sound and my place in the scene. Now, I’m starting to feel like I’m exactly where I need to be.
Milliswa: Is there a specific genre or sound you feel most comfortable with, or are you always looking to experiment?
Lxnce: Ilove experimenting, it’s exciting to push my boundaries. But at the core, I’m always drawn back to conscious rap, because that’s where it all started for me. I enjoy dropping hard verses, but I’m open to anything. Music is about growth, and I’m not here to be boxed in.
Milliswa: As an independent artist, what has been the biggest challenge you’ve faced in building your career in Eswatini’s hip hop scene?
Lxnce: The biggest challenge is getting people to listen. It’s funny how people are quick to support artists they don’t know but hesitate to back someone from their own backyard. That’s always baffled me.
Milliswa: What do you think about the current state of hip hop in Eswatini?
Lxnce: Ithink we’re heading in the right direction. People like you(Milliswa) , BeeEasy, Mzion, and others are really pushing the culture forward. More artists are emerging, and the work they’re putting out is impressive. The scene is growing, no doubt.
Milliswa: What’s one message you hope people take away from listening to your music?
Lxnce: Iwant people to understand that I’m serious about this. No gimmicks, no façade. I live and breathe this music. I want them to feel that passion when they listen to my tracks. That’s why they should tap in and really pay attention.
Milliswa: What can we expect from you next? Are there any projects, new sounds, or even live performances on the horizon?
Lxnce: Nice try, Milliswa. I guess we’ll all just have to wait and see, won’t we?
As Eswatini’s hip hop continues its upward spiral, LiveLoveLxnce stands out as a promising artist, playing a significant role in sculpting the Eswatini Hip Hop movement . From the visceral grit of Made It Here to the commanding bravado of The Real, his trajectory as an artist is marked by growth, precision, and a pen that cuts deeper with each release. His music; bold, unfiltered, and emotionally resonant, embodies the heartbeat of Eswatini’s hip hop: a devotion to craft that transcends fleeting trends, rooted in something more enduring, more profound.
Though Lxnce remains characteristically enigmatic about what’s to come, one thing is certain; this is just the beginning . As he himself put it, “I don’t do this for no other reason but the mere fact that I love music and I want to see it prosper.”
So whether you’ve been following his ascent from the beginning or are just now tuning in, LiveLoveLxnce is an artist you cannot afford to overlook. His contributions in Eswatini’s hip hop renaissance are not to be ignored; as he plays an instrumental role in composing its future.
On Saturday the 19th, 2024, I witnessed a night of territorial war to claim the throne for Nairobi Music. Like every faction of life, like every tiny detail in the world, like Isaac Newton said, for every action their is an equal and opposite reaction. Everything in life is divided equally by one thing, East or West, Nairobi is not an exception and this weekend at the Nairobi Street Kitchen, artists from Eastlands and The West lands faced off in a musical showdown.
For starters, the venue, The Nairobi Street Kitchen in Westlands, was a perfect pick by the organizers.
This is due to the fact that by default, Westlands is where the real East vs West happens in Nairobi, every weekend young culture enthusiasts galavant Westland’s vibrant music scene in support of their favorite artists. May it be NSK, SK8 city ,The Muze, The Alchemist, The Mist ,Cavalli or the pre game and post game shots at Molly’s ; Westlands is where everyone meets to enjoy the Nairobi Culture.
We all know it’s never that serious, but in music, controlling stake in your city is a show of might and East vs West is always the perfect avenue for the City’s finest to fight for the throne. The line up was an indication of how far the Nairobi music has come in matters growth and acceptance of sound. Each side of the city was well represented by the finest in the scene at the moment, with the highlight of the day being Arbantone star YBW Smith.
The crowd was a fair representation of the avid Nairobi music fan, people that have travelled the journey with the parlicular artists witnessing their shortcomings and success. Guys from the eastside, as rowdy and calm in equal measure made their presence heard as their artists tore the stage. The westside were even more rowdy with Spinx mafia perfoming with flame throwers for a song that has the lyrics “Tuna drop ma fire emojis” it was poetic and comical at the same time.
Spinx Mafia, Big Yasa in the Background
Spinx Mafia perfomed with the Mad Clan group that has been featured in alot of his tracks, what I found peculiar from the organizer however, was allowing Spinx as Mad Clan to battle against an individual, Jodye Faneto. They kept interrupting his set with subtle subliminals, which is normal but a group vs a single artist didn’t make sense to me.
The battle between Vallerie Muthoni and Shekinah Karen was heated, with both artists bringing the heat on stage. Vallerie even claim she resides in the West but hails from East, I don’t know how true those words are because she is boujiee through and through.
From Left, Vallerie Muthoni and Joy Achieng
ThirtyFourBrick, my new favorite group from Eastlando, perfomed with an energy that electrified the masses, once the DJ hit that “Nishai chai nishai chai na ndenga mboi.(I have robbed someone with a fake gun before)..” the place went berserk. I can’t wait to see what they have in store for us.
ThirtyFourBrick
Fashion was a big statement in the event, an aspect of art that Nairobi creatives have been able to master and incorporate into their craft. I saw outfits of all manners of diabolicalness, some I never imagined but truth is, the culture popped. It looked like a UK roadmen fiesta with youngins with Shiestys and Balaclavas and baggy jeans. Here is a question though, what’s up with young kenyans and baggy clothes? it’s like a pandemic that I don’t understand.
As a lover or art, music and the entertainment culture, I would love to see more of these showcases. It is the best avenue to introduce audiences to both sides of the same coin, you maybe from East or West but at the end of the day, WE ARE ONE NAIROBI.
Nigerian hip hop artist Latino Perrico has just dropped his latest single, “Bank of Faith,” produced by the legendary Modenine. The track, available now on all platforms, blends introspective lyricism with a powerful, gritty sound, delivering a message about trust, perseverance, and inner strength.
Latino Perrico continues his streak of impactful releases, following the success of his three-pack single “Holy Trinity” and the standout track “Christ the King.” With Modenine behind the boards, the production on “Bank of Faith” takes the song to the next level, offering a perfect backdrop for Latino Perrico’s hard-hitting verses.
“Modenine is not just a legend as an emcee but also a master behind the boards,” Latino Perrico said. “It was a blessing to have him produce this track. And I’m hyped for the remix because he’s going to be on it, so that’s something fans can definitely look forward to. While Modenine produced the original, he has confirmed that he will jump on the remix, adding his signature lyricism to the already impactful track. Fans are eagerly awaiting this future collaboration.The single is part of Latino Perrico’s buildup to his highly anticipated album, Catholic Boys, which promises more of the raw energy and lyrical depth his fans have come to expect.
“Bank of Faith” is now streaming on all major platforms. Stay tuned for the remix and follow Latino Perrico on social media @Latino.Perrico for the latest updates.
About Latino Perrico
Latino Perrico is a rising Nigerian hip hop artist known for his sharp lyricism and powerful storytelling. His previous releases include the three-pack single “Holy Trinity” and “Christ the King.” His upcoming album, Catholic Boys, is set to make a major impact in the Nigerian hip hop scene.
I was raised in a home where music was deeply rooted in our everyday life. My mother, particularly, had a strong affinity for artists like Aaliyah, Mary J. Blige, Eve, and Ms. LaurynHill. These weren’t just names to me; they were the soundtrack to my early years, shaping my perception of music. Over time, I found myself drawn back to these icons, especially Ms. Lauryn Hill, who I believe stands among the greatest musicians of all time. Her talent was multifaceted: she could rap, she could sing ; but more than that, her art was authentic. She wasn’t about the superficial or the physical. It was the substance of her lyrics, the social consciousness she infused into her work, that made her truly timeless. And that very same quality, that depth and sincerity, is what I see in Nyota Parker: a daring and introspective voice emerging from the South African hip hop scene.
Soulless cover art.
Nyota Parker’s latest release, Soulless, which dropped on September 27th, has had me utterly captivated since my first listen. The track merges the soulful, funky undercurrents of neo-soul with the audacious spirit of alternative rap, creating a sound that’s as innovative as it is reflective. Nyota Parker’s approach to rap is unconventional, yet powerfully grounded in social awareness. Hailing from Cape Town, she first caught my attention with Like This, a track featuring JayJody. The artist then went on to release her project titled “Intrusive Thoughts” in March, a project that offered a profound glimpse into her psyche, establishing Nyota Parker as a prominent voice in South African hip hop. But it’s with Soulless that she truly asserts herself, confronting the hypocrisies of the industry and expressing her frustration with record labels, all while affirming her unwavering commitment to authenticity.
Listen to Soulless here
At its core, Soulless explores themes of disillusionment and the importance of staying true to oneself, regardless of the noise around you. Nyota Parker boldly states that people may say what they will, but they can never call her “soulless.” The track is profoundly moving, its lyrics brimming with thought-provoking insights that nourish the listener’s spirit. There’s also a deeply spiritual thread running through her words, as Nyota reflects on her belief that she is being divinely guided. This song stands as a defiant testament to resilience and faith, and the deft production work by Samant only amplifies its impact, perfectly complementing Nyota’s intricate, poetic flow.
Watch the “Soulless” music video here.
Equally striking is the accompanying music video, which draws inspiration from the classic tale of Snow White. The video opens with the iconic line, “Mirror, mirror, who is the brightest of them all?” spoken by the evil queen . Soon after, we see Nyota, presumably playing the role of Snow White, in a forest setting, singing and dancing alongside men who I believe are the dwarfs. The visuals take a fascinating turn when the Queen presents Nyota with a poisoned apple. However, unlike the original fairy tale, Nyota doesn’t succumb. I interpret this as a deliberate choice, a symbolic gesture to highlight that when one is spiritually grounded, as Nyota Parker appears to be, they are capable of triumphing over even the most insidious of evils.
In the final scenes, the dwarfs are seen carrying a coffin, but it isn’t Snow White inside: it’s the Queen. Nyota Parker stands over her lifeless body, victorious and unscathed. This music video directed by Mawuli Campbell expresses that if one is rich in the spiritual realm just as Nyota Parker is, they can make it past any obstacle: staying true to the main ethos of the song.
Nyota Parker captured by : @jasnko
Nyota Parker brings forth a fresh, genre-blurring sound to the South African Hip Hop scene, immaculately weaving funk, soul, R&B, and jazz into a style that’s both nostalgic and forward-thinking. Her lyricism is poetic and inventive, effortlessly blending metaphors, wordplay, and cultural references, offering both intellectual stimulation and broad appeal. With “Soulless,” she proves that she’s a rising star , steadily carving out her place in the upper echelons of the South African Hip Hop landscape.
