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.
“You can take me out of the ghetto, but you can’t take the ghetto out of me.” That’s exactly what comes to mind when reflecting on Thato Saul’s rollout for his third studio album, ALL DOGGS GO TO HEAVEN. The Pretoria-born rapper, known for his gritty authenticity, announced his album with a video that feels rooted in his home turf. In the clip, we find four young men in the hood, lounging in a car, with Thato Saul’s“ ”Klipa” blaring through the radio. They lament the scarcity of new music from the rapper, who had, up until that point, only released a single. But, just as their frustration peaks, the radio host drops the bombshell: Thato Saul is finally releasing an album. The scene erupts into excitement as the young men holler, “Hay Wena, Thato Saul Wa Dropa!” Their joy is infectious as they call out to others in the neighborhood, making sure everyone knows that Thato Saul is back.
A week after this big reveal, Thato Saul kept the energy alive with the announcement of his single “Monday 2 Sunday”, using a similarly grounded and relatable approach. This time, the video transports us to a local barbershop: a corrugated iron shack, the radio still the main source of information. Again, we hear the news: “Monday 2 Sunday” is dropping at midnight on October 18, 2024. Produced by Feziekk, who’s built a reputation producing for fellow South African rapper Tyson Sybateli, the track is eagerly anticipated. One of the men walks out, brimming with excitement, exclaiming, “Hebana, AYEYE, Thato Saul Wa Dropa!” However, unlike the first video, the five men he shares the news with aren’t quite as thrilled, with one even muttering in Ispitori, “Thato Saul fell off.” This moment speaks volumes, as it reflects some of the criticism that has been circulating within the South African Hip Hop scene. To me, this feels like a bold and calculated move by Thato Saul, acknowledging the whispers and showing he’s not only aware but ready to silence them. There’s nothing more dangerous than a man with something to prove and that’s exactly where Thato Saul stands now.
These two promotional videos, announcing new music, carry a weight that goes beyond mere marketing. They highlight Thato Saul’s deep connection to his roots, his unwavering loyalty to the hood, and his desire to uplift his hometown of Blackrock, in Saulsville , Pretoria West. His approach proves that he not only understands his audience but knows how to communicate with them in a way that feels authentic and meaningful. In an industry that thrives on image and optics, Thato Saul’s ability to remain true to the people who shaped him is both refreshing and inspiring.
Listen to “Monday 2 Sunday” here
“Monday 2 Sunday” follows the release of “Klipa”, his first track of 2024, which dropped back on April 19. With both releases, ThatoSaul continues to champion the slang and lifestyle of Pretoria, especially Ispitori, reminding everyone that his hometown beats in his chest. Even though I don’t fully understand Ispitori, his music transcends language, delivering a vibe so undeniable that I find myself nodding along, fully immersed in the rhythm, the cadence, and the production.
Listen to “Klipa” here
While the start of 2024 may have been quiet for Thato Saul, his verse on Priddy Ugly’s “Family Man”, from the album Dust (a contender for album of the year), is a standout that shouldn’t be overlooked. In that verse, Thato Saul lays bare his aspirations: owning an E30 before turning 30, while reflecting on the harsh realities of life in Pretoria, his friends’ brushes with danger, and his family’s struggles with high blood pressure. It’s a moment of raw storytelling, vulnerability and social commentary, with Thato Saul painting a vivid picture of his past. This knack for reflection and storytelling was also on full display in “Church on Sundayz” , a track from fellow Pretoria artist LoatinoverPounds’ debut album Pray 4 Pitori. Here, ThatoSaul revisits his hood days, recounting street violence and how it’s shaped his outlook on life.
Loatinover Pounds “Church On Sundayz” Official Music Video
Thato Saul isn’t just telling stories: he’s living them, embodying his surroundings, and using his music to translate the experiences of the hood into powerful art. This isn’t just an album rollout. It’s a statement. One that says: you can question him, you can doubt him, but Thato Saul is still standing, and he’s got a lot more to say .This release couldn’t have come at a more perfect time, as his fellow Pheli native, 25K, is also gearing up to drop his sophomore project, Loyal to the Plug. The question on everyone’s mind remains: who truly holds the crown in Pheli? Only time and the music will reveal the answer.
Africa’s most innovative hip-hop artist M.ANIFEST has teamed up with Red Hot Chili Peppers bassist Flea and exciting Nigerian highlife fusion band The Cavemen. for his glorious new single titled ‘PUFF PUFF’.
Watch the Video of Puff Puff on YouTube
The collaboration was born out of a chance conversation between M.anifest and The Cavemen at his annual music festival Manifestivities in Accra two years ago, and seamlessly evolved over time, with M.anifest and The Cavemen. reconnecting in Lagos to work on the track.
M.anifest would then link up with Flea in Los Angeles to bring the track further to life. While bonding over a shared love for jazz music, books, and Tony Allen, Flea offers up an unexpected and yet resounding trumpet solo on ‘Puff Puff’, despite being one of the two best bassists of all time. The result is ‘Puff Puff’, a powerful song that is a melting pot and collision of three diverse musical worlds.
Speaking about the inspiration behind the single and its visuals, M.anifest says Puff Puff’ is “one of the most seamless blends of highlife and hip-hop you’ve ever heard. I really dig how we switch up from the dreamy highlife hook into the pithy verses driven by head banging 808s, and then cap it off with that jazz trumpet solo. It’s one of my favourite-ever collaborations because of how it’s so innovative and unexpected yet still so familiar. The video came out from a fortuitous happenstance where Flea, The Cavemen., and I were all in California at the same time. The song speaks for itself, so we shot easy going visuals where we could amplify the feel of the song through performance. It’s got this free-spirited vibe that flows effortlessly, harmonious yet reflective, set against these warm, natural backdrops. It’s cruising in a vintage car down empty streets, laid back but vibing with the energy of the moment”.
Produced by by Budo (Doja Cat, Lil Yachty, Macklemore) and The Cavemen., ‘Puff Puff’ is a feel-good anthem that masterfully fuses hip-hop, jazz, and highlife music together to deliver a true celebration of life and music. At its core, the song is a meditation on life’s challenges and the resilience required to navigate them, with M.anifest offering a raw and honest reflection on the pressures of the quotidien amid a call to keep pushing forward despite life’s difficulties.
The Cavemen.’s melodic hook, “Puff puff pass, keep the fire burning,” serves as a reminder to persevere, no matter the obstacles. The phrase “puff puff pass,” often associated with sharing, takes on new meaning here as a metaphor for passing on strength, wisdom, and resilience. Flea’s trumpet solo adds a soulful, reflective layer to the track, underscoring the emotional weight of the lyrics, while maintaining the laid-back vibe of the song.
M.anifest is a Hip Hop artist from Ghana known for a myriad of global exploits. For a decade plus he’s produced formidable bodies of work such as ‘Nowhere Cool’ and ‘Madina to the Universe’ that have earned him a reputation for lyricism, storytelling, and seamlessly blending Hip Hop and African music together in an innovative fashion. Beyond critical acclaim and being regarded for his socially relevant approach, he’s also known for some of the most intriguing cross-genre and cross disciplinary collaborations that are as notable as they are unexpected. His discography consists of five studio albums, two E.P’s, one mixtape, and numerous singles. He has hinted at the completion and imminent release of an ambitious new project that will be his sixth studio album.
Every year, there comes a kenyan song that becomes so big that it surpasses itself and the artist. A song that ceases to belong to the artist to become a Kenyan song, it belongs to the masses. “KunaKuna” by Vic West and Brandy Maina, “Geri Inengi” by Wakadinali, “G-Bag Ajat” by Stoopid Boy just to name a few.
This year, “Set It” by Dyana Cods featuring Ajay Buruklyn Boyz was that song for us, a song that united the whole country in unexplainable ways. A cultural revelance in dance, after a tough three months of anti-government protests,finally a breath of fresh air. The audio was an immediate success, however I would be dishonest if I didn’t appreciate the original tiktok dancers that made the choreography. The outburst of the #SetIt challenge in all social media channels made the song and Dyana Cods an household name. The video was also a success, garnering over 6 Million views on Youtube before it was pulled down. Church, that is our theme for today’s sermon, why?
In an Interview with Iko Nini Podcast, Ares 66, the producer and owner of Big Beatz Afriq explained vividly the whole situation and reason of conflicting Interests. In many words he explained that it was miscommunication from three parties, two fully involved in the making of the song and video, and a third party that was actually not. To fully understand the whole situation, you need to know the parties involved and the level of involvement.
For starters, the owner of the song Dyana Cods, is signed to Big Beats Afriq, the production house for the song which is owned by renowned Kenyan Producer and Rapper, Ares 66. Ajay (Buruklyn Boyz) was featured on the song ,this simply means, he has no idea how or why the song was made, he just had to place a verse, which he did splendidly. His verse carried the song, the #SetIt dance challenge was based on his verse, it’s safe to say that it is his song as much as it is Dyana Cods. But the law doesn’t work like that, as I type this in the court of public opinion, it doesn’t change the facts in the face of the law.
According to Ares 66, the feature artist was paid feature money and included in the split sheet of royalties distribution. Before you start scratching you head, a split sheet is a written agreement between contributors of a song. This ensures equity and fair ROI in a song, the percentages are subject to collective agreement. Everything was okay until well, it was not. To be precise, the feature artist was awarded 10% of total royalties, with Dyana Cods getting 10%, Ares the producer got 20% for mixing and mastering whilst the label got it’s usual 60%.
The seasoned producer stated that he was contacted by Ajay’s manager, proposing a renegotiation of the terms a while after the song was out. In my opinion the super success of the track and Video was unprecedented hence the need to adjust the terms, but I stated earlier, that is just public opinion, the law doesn’t work like that. The calls graduated from Ajay’s management to Buruklyn Boyz’ distribution and publishing company, an International company that shelfs out their music on all platforms.
It was their belief that since Ajay was signed to them, they deserved a piece of cake from the super successful song, a claim that seemed diabolical to Dyana Cods and the producer, since their agreement was with the artist and not the publishing company. Furthermore, Big Beats Afriq already have their distribution company making it senseless and unreasonable for them to change the publishing company.
To cut the long story short, the publishing company went ahead to strike a copyright claim on youtube to pull down the video, which they did. Unknown to them however, the masters and STEMS of the track are owned by Big Beats Afriq, the label in which Dyana Cods is signed under. In the Iko Nini podcast Interview, Ares 66 revealed that for the video, he teamed up with his partner company “Keja Ya Capo” to facilitate in planning and shooting. This invalidated claims by the publishing company of their entitlement to royalties generated from the song.
This is the second time we are witnessing this kind of altercations, with Nyashinski and producer Cedo having served us beef over the same kind of issue. The real problem however is the miseducation in the industry, a lot of people don’t know much about alot of things. Information surrounding copyright infringement, revenue splits and the need to write down agreements when collaborating for a project has many a times led to unnecessary squables among entertainment professionals.
In the ever-evolving landscape of hip-hop and Afrotrap, few artists embody resilience, authenticity, and sheer talent like Texas-based Nigerian rapper Independence Akuoma Jorji, professionally known as Ms. Jorji. With her latest project, African Bad Girl, Ms. Jorji not only solidifies her position as the Afrotrap Queen and Big Body Mama but also sets a new standard for empowerment and cultural fusion in the music industry.
A Rising Star: Ms. Jorji’s Journey
Ms. Jorji’s ascent in the music scene began on September 10, 2021, with her debut single “PUCCI”, which quickly garnered attention for its infectious beats and bold lyrics. This initial success paved the way for her first EP, Fresh off the Boat, released on September 23, 2022. Since then, Ms. Jorji has demonstrated remarkable versatility, collaborating with a diverse array of artists such as Drain, Bad Girl Preach, Blackface Naija, Deevine, Mannie Tseayo, K. Rene’, Ty.BDF, and Mr. Buoyant. Her potential upcoming album with JSAV, tentatively titled Ten-4, is highly anticipated, promising to further showcase her dynamic range and creative prowess.
The Creative Process: Crafting African Bad Girl
At the heart of African Bad Girl lies Ms. Jorji’s intricate creative process, which intertwines emotion, memory, and cultural identity. “When I hear a beat, I try to write what emotion it triggers, what memory or thought process I have stored in my mind that the beat pulled forward. Then I try to write my lyrics in a way to cultivate the emotion that I want my audience to feel when they hear the song.” This thoughtful approach ensures that each track resonates deeply with listeners, offering a blend of personal storytelling and universal themes.
Track Highlights: A Glimpse into the Project
Bad Girl: As the opening track, “Bad Girl” serves as Ms. Jorji’s unapologetic introduction. It lays the foundation for her persona, leaving no room for misinterpretation about her identity and intentions in the music industry.
Wata: Inspired by her brief stay in Nigeria from December 2023 to January 2024, “Wata” captures the essence of her homeland, blending nostalgic vibes with contemporary Afrotrap rhythms.
Pami: This track marks the end of romantic fallacies in Ms. Jorji’s life. With the powerful declaration, “Don’t give me love, give me money,”“Pami” emphasizes her pursuit of financial independence and self-reliance.
Money Talk: Embodying themes of wealth and an extravagant lifestyle, “Money Talk” reflects Ms. Jorji’s success and the luxurious life she has cultivated through her music career.
Shake It: Written and recorded on the first day of her return to Nigeria, “Shake It” exudes homely feelings and celebrates her connection to her roots, blending warmth with high-energy beats.
Drop It: Tailored for her “bad girls” in the club, “Drop It” is an anthem of confidence and empowerment, encouraging women to embrace their strength and own their space on the dance floor.
Empowering the Community: More Than Just Music
Ms. Jorji is not just creating music; she’s fostering a movement. By establishing her unique lane, she stands “unapologetically against the status quo,” creating a path that empowers her community and fans to embrace confidence and independence. Her message is clear: “Just do you, the world will adjust. Redefine your goals and make sure to work towards them. Don’t give up; listen to your heart and put up a fight.” This ethos is woven into every aspect of her music and public persona, inspiring countless individuals to pursue their dreams fearlessly.
Looking Ahead: The Future of Ms. Jorji
With over 30K followers and 1M+ streams, Ms. Jorji’s influence continues to expand both in Nigeria and internationally. Her ability to blend Afrotrap with personal storytelling sets her apart in a crowded industry, and her upcoming collaborations and potential album with JSAV promise to elevate her artistry even further.
As Ms. Jorji continues to innovate and break new ground, African Bad Girl stands as a bold statement of her identity, resilience, and unwavering commitment to her craft. Whether it’s through introspective tracks like “Pami” or high-energy bangers like “Drop It,” Ms. Jorji proves that she is a force to be reckoned with—empowering, authentic, and here to stay.
