Loatinover Pounds broke into the South African hip hop scene in 2022 with his hit single “Sosh Plata,” initially featured on his project “Hood Misunderstood” and later remixed in October 2022 with 25K and Thapelo Ghutra. This infectious track had everyone screaming “Faka Punyete” without knowing its meaning. “Faka Punyete” has since become an enigmatic phrase, energizing listeners across the country. Currently, “Sosh Plata” boasts over 6.3 million streams on Spotify and more than 6.6 million views on YouTube, earning it a 3x Platinum certification. Loatinover Pounds is celebrated for his distinctive ability to blend local Pitori slang with hip hop, resonating with audiences not just in Mzansi, but beyond.The single itself inspired by a random conversation at a local car wash, pays homage to his roots in Soshanguve, Pretoria, as Loatinover Pounds raps about dreams of owning posh sports cars such as a Buggati and attaching the Soshanguve illegal number plate, known as “Sosh Plata” to the car—a behavior deeply embedded in local Soshanguve culture. This intentionality highlights the type of artist Loatinover Pounds is: a critical thinker and cultural commentator.
“I season the beef with the cheese. I leave the steaks (stakes) high.” This memorable line from A-Reece’s “Live Once Interlude” captures the essence of Loatinover Pounds’ lyrical prowess. His appearance on this track, part of A-Reece’s weed-themed project “The Burning Tree” , marked my first introduction to him. In this verse, he drops thoughtful bars, including a nod to renowned sports journalist Fabrizio Romano: “ Fabrizio Romano, If I say it, it’s gonna shake her,” revealing his passion for football. This theme is further echoed in “Sosh Plata,” where he claims, “Ka Drip ake messe ke Yaya Touré,” comparing his consistent style to the goal-scoring prowess of the former Manchester City star.
Following the co-sign from A-Reece, Loatinover Pounds released his EP “Hood Misunderstood” on June 24, 2022, a strategic move that catapulted him ahead of his peers—a true testament to being ready when opportunity knocks. The EP consists of eight tracks, running for 30 minutes, with self-production that highlights his multifaceted talent. The project opens with “Karma Delivery” and includes standout tracks like “Victimz” (featuring Kaydence), “How U Feel” (with Khalee G, Earl P, and Swartspeare), “Run X,” “Sosh Plata,” “Flower Seedz,” “Beke Le Beke” (with Ghoust), and “Fly Away” (with Khalee G and Kaydence).
Two years later, the rapper unveiled his debut album, Pray 4 Pitori, an ambitious project that reflects his growth and dedication. The album’s quality is evident in its production and musicality, signaling that he took his time to craft this work. Leading up to the release, he dropped two singles: “4am,” a soulful love ballad featuring Durban’s Blxckie—currently amassing over 203,000 views on YouTube—and “Eish” (with the Qwellers and Uncle Partytime), a vibrant track that left listeners irresistibly moving. The music video for “Eish” features a playful news bulletin segment dubbed “Punyete News,” humorously announcing, “Pray 4 Pitori as the 20th will be the hottest day of the year in South Ahh.” The visuals show the rappers standing over a map of Pretoria, highlighting areas like Go-Rankuwa, Pheli, Mabopane, Mamelodi, Soshanguve, and Danville. Another scene showcases the rappers draped in white vests emblazoned with “P,” “4,” and “P”. All these were teasers for the album’s drop on September 20, details I admittedly overlooked.
When Pray 4 Pitori finally landed on September 20, 2024, it kept the streets ablaze as anticipated by Loatinover Pounds (born Loatile Mangadi). This is evident in the album’s 2 million album streams across all platforms announced by the rapper 4 days after the album’s release. The album’s intro, “Pray 4 Pitori,” begins with the resonant tolling of church bells, creating vivid imagery that sets the tone for a spiritual exploration. It features live instrumentation, including piano melodies that evoke a church atmosphere, complemented by rich choir arrangements. This intro embodies themes of faith, healing, and silent suffering, serving as a heartfelt prayer for his city, his life, and his journey, all while showcasing his unwavering faith in God.
The subsequent track, “Church On Sundayz,” was released as a single just a week before the album dropped. It depicts the harsh realities of township life, weaving together Ispitori street slang with a mix of Tswana and Sotho to convey the struggles faced and the perseverance needed to overcome them. The chorus, performed by G Tech 2bit, captures the sentiment of rising from difficult circumstances: “Kgale bang tsela ko tlase” (meaning “I’ve been on the bottom for a long time”). The verses, delivered by Loatinover Pounds and Thato Saul, reflect on the hustle required to achieve dreams despite the challenges whilst the bridge delivered by emphasizes the cyclical nature of success with the line “Weitsi lebili la jika” (meaning “the wheel turns” or “things will change”).
“Mamazala,” featuring 25K, maintains this ethos but shifts focus to the pressures young men face to mature quickly and support their families. Loatinover Pounds narrates the plight of a young unemployed man searching for work to provide for his mother: “Khale ae nyakela spane” (implying he’s struggling to find a job). The line “Young man a tsoga ka plan” suggests that these young men must create their own hustles, legal or illegal, to survive. 25K’s verse continues this narrative, describing the young man’s dreams of escaping tough circumstances, yet ultimately resorting to illegal activities to make ends meet. The line “Ha tshwara zaka o efa mamazala” signifies that despite his struggles, he shares his earnings with his mother, reflecting deep respect and obligation. However, this lifestyle is fraught with danger, as suggested by “Bamo thubile tlhogo a bethile lezaza,” indicating the violent consequences of living on the edge.
One of my personal favorites, “Banyana BakoNorth,” is a celebration of Loatinover Pounds’ love for his hometown, Pretoria. The track serves as an ode to women from the northern suburbs, including Ga-Rankuwa, Soshanguve, and Lebopo. Loatinover Pounds and Saint Cielo express allegiance to these women, using the term “Skeemile” to denote a close connection. The song carries a fresh edge while evoking nostalgia, extracting a bass line instrumental from “Summer Madness” by Kool & The Gang. This sonic effect creates a sangfroid, jazzy , soulful yet funky soundscape that feels like it was specifically crafted for Saint Cielo’s voice and Loatinover Pounds’ effortlessly flawless flows.Here, Loatinover seems to describe a night out with friends, celebrating the camaraderie and success that defines local township culture and the women within it.
“Table for Two” is a tender love ballad that encapsulates the sweetness of the “honeymoon phase” in a relationship. In this song, he explores the thrill of new love, expressing intentions to take his interest on a date. The phrase “table for two” symbolizes intimacy, while metaphors like watching sunsets evoke the warmth of connection. The recurring line “Girl let me ride with you” highlights both the literal and emotional journey he wishes to embark on, while imagery of “swimming in her ocean” suggests his readiness to dive fully into the relationship. The upbeat, repetitive chorus underscores his eagerness and infatuation, enriched by verses detailing intimate moments like car rides and shared playlists, enhancing the sense of connection.
In “20 Tao,” Loatinover Pounds flexes his lyrical bravado, showcasing his representation of the 012 area. The mix of street swagger and football references underscores his competitive spirit. He likens having the streets at his fingertips to goalkeeper Manuel Neuer’s gloves: “Big stepper, ka step ke phala bao ‘stroya, Schacha, kes’ tshwere ka glove ke Neuer.” He further compares his precision to that of Manchester City’s Kevin De Bruyne with the line “Kevin De Bruyne heke nale meddie yaka oi nyakela bolo, Ke mo tshwarisa corner.” Perhaps the most intriguing lines arrive when he pays homage to fellow Pretorian rappers: “Reece, Kilo, Thato, Ke tsona di OG tsaka, mara one mistake Pitori kyaka.” This not only shows respect for those who paved the way but also makes it clear that he’s ready to seize their spot should they falter. The chorus revolves around his recent financial success, incorporating slang like “shyanela zaka” (making money) to reflect his achievements. The title “20 Tao,” slang for “20 Thousand,” embodies the central theme of the track: wealth and success. Loatinover Pounds artfully combines celebration and introspection, weaving a narrative rich in street wisdom and triumph.
Next, “123 Block Myself” features Berry Jive and is marked by pristine production that harkens back to childhood games of hide-and-seek. This track delves into the complexities of adulthood, addressing how people often hide from their true selves and the pressures of life. It serves as a commentary on coping mechanisms, revealing that in adulthood, there’s no easy escape from internal struggles. The chorus by Berry Jive reinforces this ethos: “123 Block Myself, mokoko khale ke iphitla,” illustrating the long-term suppression of emotions and hiding. The vivid imagery of “Stima mollo” conveys the idea of calling for help while grappling with internal turmoil.Loatinover Pounds captures the essence of emotional imprisonment in “123 Block Myself,” challenging listeners to reflect on their own lives and the masks they wear. The most intriguing part of the song comes after the beat switch, where Berry Jive effortlessly raps, switching his flows throughout the rest of the verse.
The following song, “Hape Le Hape,” (Again and Again), is an infectious high energy song produced by Mashbeatz, that emphasizes perseverance and the cyclical nature of life’s struggles while simultaneously celebrating moments of triumph. The repetition of “again and again” in the chorus serves as a mantra of endurance, encapsulating the relentless grind that defines the Loatinover Pounds’ journey. It acknowledges that every day is a battle, yet also an opportunity to push harder, rise higher, and prove oneself.
“4am,” a dreamy love ballad featuring Blxckie follows. This song engulfs listeners in a saccharine vibe filled with affection and vulnerability. Here, Loatinover Pounds reminisces about the electrifying moments of newfound love, reflecting on a connection that feels cosmic from the very first meeting. The lyrics express the unspoken chemistry that ignites between lovers, capturing the essence of those defining memories that erase the sense of solitude.The post-chorus deepens this exploration of infatuation, illustrating the restless energy that accompanies new love—those late-night thoughts that keep one awake at 4 a.m. Blxckie’s verse further enriches the narrative, recounting his journey of admiration and desire. He reflects on the contrasting perspectives they had initially—while he envisioned a relationship, she viewed them as friends. His emotions of jealousy and longing now transform into a commitment to cherish her and treat her better than anyone else could.Together, Loatinover Pounds and Blxckie create a tapestry of sweet nostalgia and genuine love, crafting a love letter to those enchanting moments that define the early stages of romance, where everything feels new, exhilarating, and irreplaceable.
Loatinover Pounds teams up with fellow Pretoria artist, The Big Hash, on “Spend The Night,” a sensual and mellow song with a slow tempo that invites a love interest to share an intimate evening after a long period of separation due to hectic schedules. The Big Hash delivers a melodic and heartfelt hook, with his soft, smooth, and almost ethereal voice harmonizing beautifully with the soulful instrumental. Loatinover Pounds complements this with a serenading verse, painting vivid imagery of the intimacy and care he would provide if given the chance to reconnect with his lover. The addition of a saxophone enriches the song , lending it a jazzy, emotive quality that heightens the romantic atmosphere.
In contrast, “Pray 4 Me” is a poignant love letter to Loatinover Pounds’ mother. The rapper reflects on how his mother’s nurturing and unwavering support have shaped him into the man he is today. He recalls her prayers and how they have kept him grounded and safe throughout his journey, even referencing a near-fatal car accident where his first instinct was to remember her advice to always pray. Una Rams graces the track with a gentle, soulful chorus, his silky voice effortlessly gliding over Michael Touhy’s production, creating a heartwarming, resonant atmosphere. The fusion of Loatinover Pounds’ heartfelt verses with Una Rams’ emotive vocals brings forth a song that celebrates the enduring strength of a mother’s love.
“Eish,” on the other hand, offers a raw, gritty depiction of street life, ambition, and the hustle. Blending street slang with iSpitori and Zulu, Loatinover Pounds reflects on the harsh realities of urban survival, where chasing financial success is paramount. The chorus, “Tsena di traata (Eish), Ke inyakela zaka (Eish), E no phetha maabaka (Eish, eish),” captures the relentless pursuit of money in the streets. Loatinover Pounds, alongside Jepedoh and LaCabra, trade verses that speak to their assertive drive for success. LaCabra’s line, “Ngifuna ikhadi elimnyama ngathi iWakanda,” evokes a desire for power and money( black card) , while Loatinover Pounds’ “I’m on their necks ke nale di ties” conveys his confidence and persistence in staying ahead. The track’s high-energy repetition of “Eish” not only emphasizes the struggle but also injects an infectious, assertive vibe, making it relatable to anyone hustling for a better life. The line, “Spina ka pina ke duckile crime,” highlights how Loatinover Pounds skillfully navigates life, avoiding crime through his artistry.
My heart beams with pride and joy when “Angmati” featuring Percy Dlamini gets on. You may wonder why but the reason is because Percy Dlamini delivers the chorus and his verses in my home language, SiSwati. A language that is less embraced in songs especially in hip hop. In “Angmati,” Percy Dlamini and Loatinover Pounds take turns to describe a hood villain. In his verse, Percy Dlamini describes the fearless energy this villain has in Siswati, referencing movie characters like “John Wick” and referring to him as “iDelakufa”(Die Hard), reflecting on the realities within street culture. Dlamini sets the tone by emphasizing wealth and danger in the chorus through lyrics like, “Bathi uphatsa iGun makahamba ebusuku,” emphasizing the fearless lifestyle that the villain lives. The recurring chorus, “So wena uyaphika,” reinforces the idea of denial amongst members of the community, suggesting that the community fears exposing the truths around the villain. In contrast, Loatinover Pounds adds an ISpitori perspective, exuding confidence with lines like, “Ke Mustapha ka spinning kick,” showcasing a blend of aggression and playfulness. Together, their verses illustrate a complex interplay between self-deception and harsh realities, with the title “Angmati” (meaning “I don’t know him”) underscoring the theme of avoidance of truth and speaking on the fears that gangsters and villains impose on community members.
Finally, the album’s closer, “Hood Heroes” (featuring Khalee G), provides a fitting conclusion. Loatinover Pounds reflects on his journey, positioning himself as a “hood hero” who, despite the pervasive crime and corruption in his community, has managed to build a legal path to success. He contrasts the ease of obtaining guns over jobs in his hometown, offering a witty critique of how “The Robin Hoods are robbing hoods ”—to expose how the figures who should protect the community(like the police)—are instead robbing it. Loatinover Pounds also calls for a shift in mentality, from a focus on pleasing women and alcohol consumption to a focus on financial growth and realizing one’s dreams. He prays for the opportunity to change the narrative in his community, symbolized by the hope that “the sun shines on him.” The song ends with a heartfelt thank-you to all those involved in the album’s production and the fans who supported him, while also revealing the behind-the-scenes challenges, including the loss of album files due to Saint Cielo’s (the project’s engineer’s ) laptop crashing. This closing moment offers a candid reflection on the struggles and triumphs of creating the album, ending with the hopeful message that “things must go wrong before they get right.”
Pray 4 Pitori truly transcends geographical and linguistic boundaries, resonating deeply even with those of us far removed from Pretoria or South Africa. Despite the cultural nuances and local references that populate the album, the universal themes of struggle, love, and resilience are palpable and relatable. The pristine and soulful production and beats crafted by (Loatinover Pounds and Saint Cielo), rich in their musicality, create an infectious energy that invites listeners from all backgrounds to engage with the narrative. Loatinover Pounds crafts a soundscape that speaks to the heart, crafting an emotional experience with sound. As he continues to rise, Loatinover Pounds not only champions his city as the hood journalist, but also establishes himself as an undeniable force within South African Hip Hop space , marking his territory in a landscape rich with talent and possibility. His two nominations at the 2024 SAMA awards: Best Video of the year for “Sosh Plata” and Best Produced Music Video for 4am are evidence enough that he is a star. One thing remains, Punyete Ke Punyete and Rea Faka.
Listen to Pray 4 Pitori here : https://modar.bfan.link/p4p
