Music has always been a powerful medium for storytelling, a space where emotions find their rhythm and melodies become vessels for deeply personal narratives. BoiBlacc’s latest release, “Upset”, is a testament to this artistic expression, blending R&B and jazzy hip-hop influences to craft an introspective journey through love, uncertainty, and emotional vulnerability. Released on January 31st, 2025, this track marks his first offering of the year and serves as the second half of a two-track single.
“Upset” is an intricately crafted track that merges smooth bass lines, soulful piano melodies, and finely layered percussion to create a warm yet contemplative atmosphere. The production is rich, effortlessly balancing laid-back instrumentation with emotionally charged lyricism. There’s an undeniable jazz influence woven into the hip-hop fabric of the song, a signature sound that BoiBlacc executes flawlessly.
The inclusion of electronic drums and subtle brass elements gives the track a dynamic depth, elevating it beyond traditional hip-hop structures. It’s a soundscape that feels both intimate and grand—an open invitation for listeners to get lost in its immersive rhythms.
At its core, “Upset” delves into the nuances of love and human connection. BoiBlacc uses his introspective lyricism to navigate the push and pull of romantic relationships, capturing moments of doubt, passion, and longing. Lines like “I can’t remember where I found you“ suggest the blurred lines between past and present emotions, a recurring theme in the track that speaks to the unpredictable nature of love.
The title itself is reflective of the emotional turbulence that comes with deep connections. The song doesn’t present love in a simple, idealized form; instead, it embraces the contradictions, the hesitations, and the insecurities that accompany intimacy. Through his storytelling, BoiBlacc invites listeners to relate to these sentiments, making the track deeply personal yet universally resonant.
One of BoiBlacc’s strengths as an artist is his ability to deliver emotion with sincerity. His vocal performance in “Upset” feels raw and unfiltered, making it easy for listeners to connect with his words on a personal level. His tone fluctuates between smooth and urgent, mirroring the complexities of the emotions he’s expressing.
His vocal delivery also complements the instrumentals seamlessly. Rather than overpowering the beat, he allows the music to breathe, creating a synergy between his voice and the rich production. This balance makes “Upset” a track that demands attention not just for its lyrics, but for the entire sonic experience it offers. With its melancholic yet groovy energy, “Upset” isn’t just another love song—it’s a reflection of the emotional highs and lows that come with real human relationships. Its strength lies in its honesty, its layered production, and its ability to capture feelings that many experience but struggle to put into words.
For fans of soulful hip-hop, R&B-infused rap, and introspective lyricism, this track is a must-listen. It carries the warmth of a late-night conversation, the weight of unspoken thoughts, and the groove of a song you can’t help but replay. “Upset” serves as a strong statement of where he is as an artist—fearless in his vulnerability, meticulous in his craft, and unwavering in his commitment to authentic storytelling. This track isn’t just a moment; it’s a movement in his musical journey.
Revenge Club Records is at it again. And this time it’s none other than Jay Jody opening up their 2025 season with a new single Black Cards featuring Marcus Harvey. Released on 31 January 2025, Black Cards is a smooth and melodic braggadocious earworm that epitomizes ambition and unapologetic confidence. In the financial world, a black card is one of the most exclusive symbols of wealth and status, often linked to unlimited spending power and luxurious privileges. In South Africa, as in many parts of the world, owning a black card is a badge of success, exclusivity, and hard work. This significance resonates deeply in a country where disparities in wealth are stark, and the journey to financial freedom is one that many aspire to but few achieve. This makes the song title a fitting title, as Jay Jody and Marcus Harvey tap into this symbolism in Black Cards by celebrating their elite status and achievements, both in material wealth and personal growth.
Listen to Black Cards here
The cover art itself designed by DJ Trix SA, is a canvas of simplicity and minimalism. A sleek, jet black card adorned with a few creative twists such as the RCR(Revenge Club Records) logo at the top, Jay Jody’s name sitting proudly at the bottom right where VISA might usually be and instead of an account holder’s name, the card details the song title, artist credits(Jay Jody and Marcus Harvey) , including producers (Marcus Harvey, ShooterKhumz and SickBeatPrince). This minimalist yet bold design mirrors the title and content of the song quite impeccably.
Black Cards Official Cover Art
Getting to know Marcus Harvey’s sexual preferences was not on my 2025 bucket list but he starts off the song with provocative flair establishing dominance and stellar confidence. “Baby, you can’t fuck with me unless you give me top.” These provocative lyrics immediately set the tone, reinforcing a theme of exclusivity and exuding a domineering aura that suggests that Marcus Harvey demands respect from those who engage with him(including his lovers) . The chorus, paired with Marcus Harvey’s charismatic delivery, sets a tone of unshakable confidence that carries through the rest of the song.
The song also celebrates success, freedom and the joy of achieving what was once unattainable. Jay Jody’s verses are masterstrokes. Defined by lines like, “I’m just getting money, so much money, look like props,” a simile that showcases how Jay Jody is making so much money it almost feels unreal and theatrical. Jay Jody and Marcus Harvey embody true Hip Hop culture on Black Cards. A culture where flexing is often a cultural staple, a middle finger up to the haters and critics of how far they have come and how they are reaping the fruits of their labour.
Jay Jody showcases his rap bravado in his verse, delivering a powerful set of bars about his work ethic and creativity. Referencing his impact, Jody raps: “Every time I drop, I make that shit feel like a comet.” The imagery here suggests not only the rarity of his talent but also its undeniable impact when it’s unleashed. He refers to himself as a cosmic event, a force that reinforces the musical universe with every single drop.
Jay Jody(Left) and Marcus Harvey(right) shot by @optical.fps
Given South Africa’s history, where inequality has long divided access to wealth and opportunity, the black card takes on a deeper meaning. It is a metaphor for liberation, representing freedom to move, create, exist and live in a limitless manner. It is about black people claiming spaces in elite circles that were once inaccessible during apartheid times. With this release, Jay Jody continues to write his name in stone, as a son of the South African soil, reflecting the times and offering social commentary. A skill that has become his competitive advantage. And Black Cards?A song that has rightfully earned a spot on my “Motivational Playlist”.
Jay Jody(Left) and Marcus Harvey(Right) shot by @optical.fps
The evolution of music genres and humanity will forever be parallel. Man is naturally curious and their curiosity essentially brings about the necessity of invention. Fifty years down the line, we are still facing new sub genres of Hip-Hop from Trap to a bubbling clique sub-genre from Nairobi dubbed “Kilimani rap.” The latter is a combination of slang and colloquial words from Kilimani – a fancy suburb within Nairobi. Spearheaded by artists such as Prxnce, Korbs, Kahu$h,Ouma, Sabi Wu and more, the sub-genre has found a solid fanbase within Kenya. “Kiama” by Kahu$h is the latest testament that saw the project sit #1 on Apple Music albums.
After more than three years in the game backed up with four projects to his name and a sling of hits including his breakout single “Mi Siwezi,” and “Mastingo,” Kahu$h took a slight sabbatical before his return with “Kiama.” In 14 songs, he makes a couple of statements including “I can rap on any beat with any format because I am the artist and this is my creation.” Breaking out at a young age, he has faced criticism when it comes to his artistry which actually forced him into a one and a half year hiatus of self reflection and affirmation.
Ironically, this has positioned him as one of the ubiquitous faces in Kenyan rap both locally and internationally, the fact that he is a Brighton University alumni aids this fact. This is by no accident or planning but rather by his distinct rap approach, cadence and self awareness that comes with each line he puts out. You can tell the growth he has experienced with the release of each catalogue and “Kiama” lives up to its name. Translated to English the title means blessings and “Time Traveller” starts off with Kikuyu chants. He tests his creative freedom after he places his dad’s voice recording in “Visions Everyday,” talking about his position as Kahu$h’s father, Kahu$h and finding pride in your background. This came as he constantly faces backlash for being the son of a senior government official. In “Mkokoteni,” he makes it clear that his music is more than just having rhyming words, hardcore lyrics or even melodic delivery, music is therapy and it touches on production quality.
Still enjoying his youthful energy his beats are all upbeat with most songs as seen in “Maheni,”and “KujiKata,” having his signature repetitive bridge “…maheni, maheni,maheni, caught you in a..”. One of the most soothing points with how he raps is the fact he doesn’t try too hard to be something he is not. He steadily delivers in his wonted talk-rap and cheeky lines as he sings in “Put It On.” Unlike most rappers, Kahu$h has grasped and studied his audience. He knows a high number of Gen Z suffer from attention deficit issues thus he has mastered the art of simplicity song writing “..Her crib is just like the Brookhouse castle finest things in the East..you get sexy when you talk and not the topic the way you speak..” as he cunningly sings in “My Biggest Fan.”
Kahu$h does have a more cocky side as seen in the last quarter of the project from “Smoky Robinson,” where he gets self conceited to “The Fuckery,” where he stands with Kenyans and goes ablaze on the current oppressive government and the traitors. “Welcome to the land of whatever whatever,’ Kahu$h starts off with a sliver of remorse that he knows his fans will relate to “nchi where freedom fighters are easy to fight, easy to sway.”
“Kiama” is a testament of Kahu$h growth both as an artist and as human. The implementation of his ethnic background in terms of production as seen in “Time Traveller,” to modern 808s in “Maji Haina Shida.” ‘Kiama,‘ is more than a body of hits its a journey into Kahu$h’s universe and understanding his growth for the past one and a half years.
Khalee G (born Tlotlego Mothibe) and Saint Cielo ( born Kutloano Kopano Lebeta ) are the duo that just keeps on giving. They call themselves “Pitori’s Biggest Kept Secrets,” and rightfully so. As recording artists and producers, their artistry is nothing short of mesmerizing. They are indeed hidden gems shimmering beneath the surface, waiting to be unraveled.
In 2024, the Pretorian duo blessed us with their collaborative tape, “Sunset Drives”, a project that feels like watching the sky melt into warm hues after a long day: calm, serene, tranquil. It’s the kind of music that begs to be played during a slow drive with the windows down, hand-in-hand with a lover, watching the world slip into twilight.
Listen to “Sunset Drives ” here
On Sunday, 2nd of February 2025, they released their first single for the year titled “Martha’s Prayer”. “Martha’s Prayer”, is a soulful earworm that sees the Pretorian artists tightly grip the mic, delivering rich vocals over a minimalized yet smooth production. The cascading piano chords imbue the production with a soulful reverence, evoking the sacred ambiance of a church: an atmosphere perfectly suited to a song titled “Martha’s Prayer”. Khalee G and Saint Cielo have masterfully crafted a sonic journey, purposefully immersing us in a heartfelt homage to faith and reverence. There’s a certain level of spirituality that comes with this song. It’s a song about the power of prayer even in the face of failure and adversity.
Martha’s Prayer Cover Art Shot by N6VMBER
The song in its essence unfolds like a late night prayer whispered into the void: raw and deeply personal. Khalee G and Saint Cielo use their words to paint a haunting portrait of struggle, faith, and the relentless pursuit of a better life. “Martha’s Prayer” is a song that serves as a reminder to get on our knees and “pray a little more” even when our worlds crumble. The cherry on top? It’s delivered in hauntingly smooth vocals that are soul stirring. The end result? A powerful and introspective piece that reignites a feeling of hope and a survivor’s mindset.
At exactly 1 minute and 20 seconds, the song reaches its emotional peak with an excerpt that tugs at the heartstrings: a mother’s voice, urging her children to pray. “Ngwanaka, tsepa thapelo, orapele. Modimo ke yena o tsiba nnete ka bophelo.” (“My child, trust in prayer, pray. God is the only one who truly knows the truth about life.”) Her words carry the weight of generations and depict a mother’s love in the purest way. And just like that, the song seamlessly shifts from prayer to ambition, proving that divine intervention and self-determination walk hand in hand: “Lenna ke nyaka go te pona ka Beemer.” (“I, too, want to make it and drive a Beemer.”)
Listen to “Martha’s Prayer” here:
I’ve never felt more regretful about not fully understanding Spitori. But here’s what I do know: even through the language barrier, “Martha’s Prayer” spoke to me. It wrapped itself around me like a warm embrace from heaven, whispering reassurances into my soul, letting me know that everything somehow, some way will work out. It breathed life into my weary spirit, and I have no doubt that it will do the same for anyone who listens.
Saint Cielo(Left) and Khalee G(right) shot by N6VMBR
Blending the courtroom and the studio, R.B.D. steps boldly into 2025 with RUDE, a masterful hip-hop/rap album that captures the raw intersection of his dual life as a lawyer and rapper. Dropping on January 30th, 2025, this project is a candid exploration of the challenges, triumphs, and lessons that come with balancing two demanding worlds. From navigating the pressures of legal practice to staying true to his love for rap music, RUDE is an anthem for anyone striving to harmonize passion and responsibility.
At its core, RUDE delves into the friction of these dualities. Tracks like Flowers and Crossroads unravel the grit it takes to move between courtrooms and cyphers, while others like Heartbreak and Hate 2 Love 2.0 celebrate the transformative power of music and love. Infused with moments of introspection, resilience, and gratitude, the album paints a vivid picture of R.B.D.’s journey and the life experiences that have molded him into the multifaceted artist he is today.
The album boasts an impressive lineup of collaborators, featuring powerhouse artists like Ko-Jo Cue, AratheJay, KooKusi, Kirani Ayat, KiddBerch, and Tradey. Their dynamic contributions amplify the album’s emotional depth and lyrical brilliance. Producers who played major parts to the creation of the project are Aaron Dugud, Ranking Made It, Rdee Beatz, Christoven, Wolfbite, KQ the Artist, Delis Worldwide, Gomez Beatx, Roddy Hanz, Dab Beatz, MPtaimment, Sinima Beats, and White Eyes. Also complementing the mix are soulful additional vocals from the talented Anabel Rose, Naa Koshie Hagan, and Ewura-Ama Awadzi, whose voices lend an ethereal touch to the record. The lead single, Villain was released on January 24th, and set the tone for the project accordingly, with its unapologetic narrative and hard-hitting beat.
Overall, RUDE is a testament to R.B.D.’s artistry, introspection, and undeniable fearlessness. It is not just an album; it is a statement, a reflection, and a journey worth taking. With RUDE, R.B.D. solidifies his place in the Ghanaian rap scene as an artist who defies convention.
The moment I pressed play on Money Badoo’s“Heartbreak Hotel,” I knew it would be one of those songs that would linger for years to come. Released today, January 24th, 2025, “Heartbreak Hotel” feels like stepping into the mind of someone caught in the push-and-pull of heartbreak, toxic love, and self-awareness. A situation we have all found ourselves in. This song took me straight back to my first heartbreak : 17 years old, naive, and utterly unprepared for the emotional whirlwind that would follow. If you’ve ever been trapped in the loop of love and betrayal, trying to make sense of your feelings while knowing better, “Heartbreak Hotel” will hit home, just like it did for me.
HEARTBREAK HOTEL OFFICIAL ARTWORK
The icing on the cake for this specific song is the lyrics. They are achingly honest as though they were pulled straight from one’s own journal. “To tell the truth / I’m just a fool / I keep falling for your lies,” . Raw, honest, unfiltered, capturing the limbo of knowing you should let go but still clinging on. . That’s exactly how this song makes me feel. A feeling only SZA’s“Drew Barrymore” once evoked in me when I was engulfed in heartbreak, the same heartbreak that inspired me to dive into poetry.
IN PICTURE: MONEYBADOO SHOT BY @no.ordinary.human
This achingly honest lyricism is beautifully accentuated by the dreamy ’80s-inspired synths making “Heartbreak Hotel” song a gem and an emotional experience. From the moment the opening chords hit, “Heartbreak Hotel” pulls you into its world. The production, helmed by Select Play, creates a lush and moody soundscape that’s both nostalgic and fresh, perfectly complementing the song’s ethos. Featuring the velvety tones of Una Rams, the duet unfolds like a conversation between two hearts caught in the throes of love’s complexities. This very duet is the perfect cherry on top, with Una Ram’s velvety tones balancing Money Badoo’s emotional intensity, further highlighting the undeniable chemistry between their voices.
IN PICTURE- UNA RAMS (SUPPLIED)
With “Heartbreak Hotel,”Money Badoo proves she’s a storyteller who knows how to open up her heart and fully immerse listeners into her world. She has crafted a metaphorical space where pain and unrequited love are common, giving us a beautiful glimpse into the darker side of romance.
Keep your eyes peeled on Money Badoo as this single marks a new sonic chapter for her, and is the perfect setup for her upcoming album, M$RYLUV$CMPNY, set to release on March 7th. From this song alone, one can discern that the album is going to be a rich exploration of heartbreak, self-discovery, and, ultimately, empowerment. If “Heartbreak Hotel” is any indication, fans like myself are in for a deeply cathartic journey.
On Women’s Day last year, Hip Hop Africa honored the women making strides in South African Hip Hop, among these women, we honored AYON( born Ayanda Mfeka), a rising voice hailing from Durban, KwaZulu-Natal who has since made strides in her own career, having made top 4 of Sportscene’s Put Me On Competition.
AYON pictured with KaoticWave
This past Friday, AYON dropped her first release of the year titled “Kash Khontanti”. On Kash Khontanti, AYON and Kaotiicwave take us on a lyrical odyssey, exploring the unyielding grind, the ache of proving oneself, and the fleeting, golden moments of triumph.
Listen to Kash Khontanti here
The song intertwines hypnotic trap soundscapes with relentless back to back lyricism; making it the type of song that demands to be heard and felt especially during the start of the year; where everyone is standing on business.
“We wanted to create something that not only sounds good, but speaks to the hustle and grind we all go through. This track is a fun vibey song for anyone who’s had to fight to prove themselves,” says AYON.
And they did. The song carries the weight of the streets, and serves as a mirror to everyone that faces self doubt, that faces quiet battles and loud dreams. To AYON we say “Phakama Mbokodo”.
Fresh from a prolific feature run in 2024, which cemented him as Eswatini Hip Hop’s MVP, Amarii has launched the 2025 hip hop season with a bang. Last Friday (10 January 2025), the Manzini native unveiled his drill-inspired two-pack single, Pride & False Claims. Two words: dynamic and nuanced just like the emotions it explores.
Amarii photographed by @shaun_desousa_
Amarii doesn’t deviate from the topic of love once again. This is a release coming from an artist who understands his superpower. Deadpool has his immortality, The Flash has his super speed, Spider Man has his spider sense. What does Amarii have? The ability tomap the contours of love with utmost precision. That is his superpower.
Amarii photographed by @shaun_desousa_
With Pride & False Claims, Amarii follows the thematic path set by his previous works such as Oxytocin and State of the Heart, blending the hard-hitting cadence of drill with the fluid melodies of trap and plug to weave narratives that seep deep into to the heart. He continues to craft a sonic tapestry of admiration, heartbreak and the endless search for meaning in relationships.
The single opens with Pride, a heady, up-tempo anthem to the thrill of pursuit. A song that pulses with the optimism of new beginnings, where every beat feels like a step closer to something or someone,just out of reach. Here, Amarii’s lyrics strut with confidence, his delivery buoyed by a rhythm that captures the electric energy of admiration.
But no love story is without its shadows. Enter False Claims, the second half of this two-pack: a slower, introspective track that lays bare the dissonance of a relationship frayed by selfishness. The tempo drops, the melodies soften, and the words cut deeper. It is in this contrast that Amarii shines, balancing hope with heartbreak and creating a space where listeners can reflect on their own experiences.
We caught up with Amarii for a quick chat about his latest release:
Q: Can you tell us about the inspiration behind Pride & False Claims and how the theme of love influenced both tracks?
A: From a production standpoint, I wanted to make two beats from the same sample. This was sometime in the middle of 2024, after I hadn’t made a drill beat in a while. I thought, why not? So, I turned the second part into a drill beat. Later, I came across this idea called “sexy drill” (some call it “sensual drill,” but really, there’s no such thing—just call it slizzy!). I decided to add that touch, which I thought was a cool contrast instead of letting the whole song lean in that direction.
The context is just what feels natural to me. Love and relationships are such a big part of everyone’s life, and for me, they’re always somewhere in my subconscious. I don’t even need to think too hard about it—they just spill out. For these tracks, I think it came from experiencing the good and the bad parts of relationships pretty close together. Of course, I had to make it more colorful!
Q: Your music often blends genres, from drill and trap to trapsoul, as seen in Oxytocin and From Bremersdorp With Love. How did experimenting with rap and drill sounds impact the creative process for this two-pack?
A: It gave me room to explore different moods. Drill and plug (the other influence here) are so distinct. Plug focuses more on flow and feel, while drill leans on lyricism. That contrast allowed me to explore both the melodic and lyrical sides of the record. The balance gave me more tools to shape the story and bring it to life in different ways.
Q: Your music frequently explores themes of love and relationships. Do you think this focus is influenced by your name “Thando” meaning love and your stage name, ‘Amarii,’ derived from the Latin word for love?
A: Absolutely. Like I said, love songs just pour out of me. I think it’s always there. Love is such a universal thing, and there’s always something new to say about it.
Q: Pride and False Claims have contrasting tones and messages. How did you approach balancing these emotions while keeping the theme cohesive?
A: Honestly, the tempo was the key. The faster beat in Pride gives it rhythm and an upbeat energy, while slowing things down for False Claims makes it feel more emotional and reflective. Following the vibe of the beat created a natural canvas for the lyrics, which tied everything together.
Q: With this release arriving just in time for the month of love, how do you hope listeners will connect with the stories and emotions in these tracks?
A: I want everyone to find their moment in these songs. Whether you’re in love, fresh from a breakup, or somewhere in between, there’s something here for you. This is just one of many tracks I’m putting out to make sure everyone feels seen and heard.
Q: What makes Pride & False Claims stand out from your previous work, and how does it reflect your growth as an artist?
A: I’m really coming into my own. I’ve been experimenting with finding a natural flow and understanding my voice. If you listen to some of my recent work, you’ll hear the cadence and flows I’ve been honing. I’m staying away from overthinking or writing too much, which has helped me sound more authentic. With Pride & False Claims, I think I’ve reached a point where I love what I’m creating. I’m also exploring mixing and melodies more, really building a unique sound for myself.
What makes this release even more special? The timing. Oh my goodness, The timing. This release, arriving as the world tilts towards the month of love, offers solace, catharsis, and connection. Whether you are in the throes of a new romance or navigating the rubble of a breakup, Amarii’s latest work is there to meet you where you are.
2024 was a transformative year for me, particularly when it came to my relationship with music. My playlists took a surprising turn as I gravitated toward trap : a genre characterized by infectious beats, carefree vibes, and undeniable grooves. This shift felt strikingly different from my previous leanings, which revolved around boom bap and introspective rap that often felt like a soundtrack for deep self-reflection. Suddenly, I wasn’t seeking music to ponder life’s complexities; I was reaching for something that let me escape them.
At first, I was taken aback. Why had my taste changed so drastically? Was it because the quality of introspective rap had declined? Was it a reflection of personal growth : an indication that I was stepping out of a depressive fog? Or was it simply a way to avoid confronting my own challenges? The answer remains elusive. What I do know is that, for someone who once lived on tracks like Julia,Cutting Corners, and Yellow by Shane Eagle, this change marked a significant shift in my listening habits, one that demanded exploration.Back in 2023, Shane Eagle’s AKIRA left a lasting impression on me. Tracks like MUTANT, HEALiNG x RIZE, and ALi were staples in my rotation. Yet, as 2024 rolled around, I found myself struggling to connect with the same type of sangfroid, introspective lyricism I once cherished. It was during this period of detachment that I stumbled upon an album that changed everything: Silk by Pretorian artist LEO.
Silk came to me in a serendipitous moment while scrolling through X (formerly Twitter), a platform increasingly becoming a hotspot for discovering South African hip-hop talent. When I pressed play on Spotify, I immediately knew that Silk was an album I would have on rotation for years. It was an album that reignited my love and appreciation for lo-fi and jazzy raps. Silk is the kind of album that feels like the sun’s presence after a long, gloomy day. It’s the kind of project that is well-put, polished, smooth, and luxurious: perfectly encapsulating what its name suggests. The album’s production is subtly grand, characterized by a dreamy, textured, and deceptively minimalist style. It’s a kaleidoscope of different textures and elements that have been planted to bloom together, creating something like a sonic garden. It’s an album rooted in soul, lo-fi, jazz, and R&B, creating an intimate and inviting atmosphere. This production beautifully complements LEO’s potent and poetic lyrics. His intricate wordplay throughout the project weaves through like threads of silk, delivering vivid imagery and an air of sophistication.
Silk Official Cover Art photographed by – Alkebulanpeace
“A debut album created while life’s challenges actually won. But in this life, one needs to understand that life isn’t one battle or one big loss; Silk was birthed from that,”LEO said. These words encapsulate the exact sentiment I get from listening to the album. At its core, Silk reflects LEO’s journey of striving for greatness while grappling with challenges in both his personal life and the music industry. It’s an album that offers a glimpse into his psyche: raw yet refined. On songs like “Free” and “Team,” LEO boldly confronts the mediocrity of the music industry while asserting his individuality and artistic integrity with unflinching conviction. Through lyrics like “Hope that my rhythm excites you, hope that my notes to your heart and mind inspire a love that is real,” he positions himself as a beacon of hope and originality, striving for greatness without compromising who he is.
LEO- Silk Official Tracklist
Songs like “Team” and “Phone” delve into the complexities of love and emotional intimacy, juxtaposing vulnerability with strength. In songs such as “Trust” featuring Kimberly, LEO blends moments of tenderness with the complexities of trust and emotional reciprocity, standing tall as an emotionally intelligent artist. While songs like “Imagine That” and “Life” are affirmations of persistence and vision, capturing his aspirations to break through barriers while critiquing the cyclical nature of the mainstream industry.
The album impeccably balances LEO’s reflections with his ambitions, presenting the view that life is all about growth—both personal and artistic. Songs like “Clueless” and “Twisted” grapple with loyalty and self-actualization, while “Friday” and “Fire” celebrate fleeting moments of joy and connection, highlighting the beauty of life’s simplicities. As I listen to and engage with the album, I realize that it feels like LEO is having a conversation with me as the listener: intimate, unapologetically honest, and calling me to embrace my essence and envision a reality beyond the mundane. LEO’s superpower is that his art is anchored in truth, and that truth resonates across boundaries, times, and space.
Listen to “Silk” by LEO here
The cohesiveness of Silk is no accident. LEO, who doubles as a producer, ensures every detail serves the project’s narrative. The arrangements are deceptively simple, often just a hook and a verse, but that simplicity underscores the album’s message: life doesn’t need to be overcomplicated to be meaningful.
LEO- Supplied
In an exclusive interview, LEO shared his thoughts on the making of Silk:
Q: Your project Silk is a well balanced offering- from the production, to the arrangement and the lyrics, it feels well polished. What do you think makes a rap album great? Is it the production or the raps?
A: Both are equally important, but I would say what’s most important is the connection a creator(s) have with the album they put out. When you feel that connection, it’s easier for it to be passed down to the listener.
Q: For you, what was the goal with Silk? Which aspect of rap did you want to shine?
A: My goal is to show there are musicians in South Africa who excel in both being in front of the mic and behind the boards, and what I want to shine is my individuality. Yes, mainly because I can rap but it’s not what defines me but I understand the importance of it but my goal is not to become number 1, but rather to create timeless music with a message.
Q: Why Silk? When I see the album name “Silk” I expect luxurious wordplay, subtle grandeur, fluidity and seamless transitions coupled with intimate themes. I believe that’s what I get from your album. Was that the intention?
A: Lol good question damn. So my music is split into various series: the album series is textures, EP/mixtapes is colours and even since having serious life problems in 2021 that birthed the reality series of that being Beg4forgivenessNotpermission.So Silk title is how I feel I handled the turbulence in my life at that time it was created given that the album was made from Aug 2020 – May 2021. My intention was to be honest it’s a journey of my confidence on days I was able to actually bring the ideas to life and some songs were created after moments.
Q: I remember you started rolling out this album in 2021, saying that it was 90% done by then. What led to the decision to drop it 3 years later?
A: I decided to present such an ‘old’ album due to my artistic integrity. Yes it is an old body of work and I could have made a body of work to embody the spirit of competition with all the great music that has been released this year but I feel like artists forget to stick to the plan which is why I released this.
Q: When you made the project, was there any creative pressure that you felt? Since it was a debut album, an album that comes with a lot of expectations? A: I mean the album was made in 2020/2021 same time as Tyson S.T (now Sybateli) was creating “Dulcé” , a big thing him and Dooushii introduced to me was coming to terms with not being so niche, cause during the time I was a purely lo-fi artist. I didn’t even like to rap in a competitive manner so as far as pressure I wasn’t feeling that from the music side and I believe you’ve got whole career up until that point to make your debut album
Q: Your music has a niche market. Which I believe is a non-South African market. Was that an intentional move or was it just the music itself that got more attention outside your own country?
A: So to be honest that wasn’t intentional the music itself found it’s people/market if I could say that and to prove this as well I could include the co-signs I’ve also gotten from Fat Joe, Top Dawg Ent. and artists like Clairmont The Second & André The Saint to name a few and as far as here at home project by project I seem to be getting more and more interest which is also keeping me focused.
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Q: The album opener “Free” was produced by Chicago’s Monte Booker who has worked with the likes of Smino. How did that collaboration come to life?
A: Social media is an amazing tool hey, quite the short story at the time DM’s were open and the request was met due to also supporting his production kits.
Q: You critique the mainstream industry quite a lot on “Silk” speaking on themes of mediocrity and disloyalty. Is this something you have personally encountered?
A: As far as the mainstream, all I speak on to clarify is the behavior I’ve picked up on or what I’ve experienced and as far as the music making process I’m shedding light on those of us who are extremely hands on with our product as supposed to delegating to teams.
Q: Your album is also centered on the ethos of growth. Would you refer to it as a healing sanctuary for you? A: Growth is a natural process for every human being, I’m fortunate enough to do this through the commitment I have to my art and indeed it is healing.
Q: In pursuing your music career what has been the most challenging part? A: Finding those with the same vision as me and individuals with patience.
Q:The SA music market doesn’t really appreciate alternative jazz rap or lo-fi rap as much as other rap types. What is your feeling on that?
A: Influence really but there definitely is appreciation I just feel at the forefront there’s just a certain type of Hip-Hop artist that’s more supported rather than embracing the diverse types of us.
Q: What I enjoyed about the album is its duality, how you balanced speaking on the complexities of life as well as the beauty of its simplicities. Is that how you approach life and your music on a day to day basis? A: Thank you for this compliment really shows me you’re paying attention and yes life is a series of ups and downs, lefts and rights you cannot favour a certain portion of your life’s journey cause I feel you will miss out on the beauty of it all.
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Q: Which song was the hardest for you to make or conclude on the album?
A: “Understand” was the hardest to make because I decided to not sugarcoat my personal feelings with the environment in which I’m tackling in this industry.
Q: The album’s arrangements were pretty simple: just a hook and a verse. Was that deliberate?
A: Great question and yes very deliberate. I often tell my peers whom I make music with that there always has to be progression with a discography and to simplify this lol don’t make your magnum opus too soon that’s self explanatory.
Q: You only have three collaborations on the album: Kimberly, Francis Jay and Yolophonik. Was that a deliberate choice?
A: And TRON PYRE doing back up vocals on Team & Trust. Yes it was, my collaboration personal space has become more than the benefits of making a record that’ll do good, it’s more on if I get on with the other artist and support/love/admiration I have for what they do on their own.
Listening to Silk is like stepping into a meticulously crafted world. It balances the complexities of life with the beauty of its simplicity, inviting listeners to reflect, dream, and grow. LEO’s music doesn’t just entertain; it resonates. It’s art anchored in truth, designed to transcend boundaries and stand the test of time. In a year of unexpected changes and evolving tastes, Silk reminded me of the power of music to reconnect us with ourselves. LEO’s artistry is proof that even in life’s turbulence, there’s room for elegance, and, of course, Silk.
Hip hop has always been a stage brimming with masculine energy. For decades, women have had to elbow their way into the spotlight, often measured by standards set by their male counterparts. “Too feminine.” “Too soft.” “Too sexual.” These are just a handful of the critiques that women in hip hop worldwide have faced while carving out their space in a genre that demands resilience. Yet, over time, the culture has started to evolve, becoming more inclusive of women who have shattered ceilings and stereotypes to make the genre their own. Against all odds, women have continually broken barriers, proving that rap is not just a man’s sport.
From global icons like Nicki Minaj,Megan Thee Stallion, and Rapsody to new wave stars like Ice Spice, Doja Cat, and GloRilla, women have taken charge, redefining the narrative and the culture. Closer to home, African women like Oriiginelle, Dee Koala, ZuluMecca, and K.Keed are inspiring a new wave of girls who see themselves as active participants in hip hop—not just consumers. As a fan of the genre, seeing women thrive in this space, especially African women, makes hip hop feel even more personal and inclusive.
But hip hop isn’t just about those behind the mic. Women like Eattz, Banyezus, and Lady Kuda, Tummie Letsapo—and yes, myself—are taking the reins as tastemakers, publicists, and advocates for African hip hop, proving that influence doesn’t always come from center stage. Together, these women are challenging the norm and paving the way for others. Here in Eswatini, I take pride in being one of those voices, ensuring the culture is not only celebrated but respected.
In Eswatini, a new revolution is brewing. Women are stepping into the hip hop scene with intention, reclaiming their place in a genre that’s long been ruled by men. Artists like Oriiginelle, Ima Crystals, and Milkie The Don are pushing the boundaries, unapologetically crafting their own lanes. And then there’s WassaBee, Eswatini’s first female hip hop DJ, who has not only taken the decks by storm but is now venturing into creating music herself.
What sets WassaBee apart is the enigma that she has cultivated around her persona. With her signature balaclava- either black or pink- firmly in place during public appearances and performances, she embodies the “faceless mystique” , letting her craft speak more than appearances ever could. This anonymity has become her trademark, adding an air of intrigue that keeps fans and audiences captivated.
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When I first met WassaBee in April this year, I was thrilled. Here was a woman unapologetically killing it as a hip hop DJ, holding her own at major stages like MTN Bushfire and Luju Festival, and beyond our borders such as in the Mpumalanga Spring Fest early in the year. Her consistency and determination were inspiring. And now, with the release of her debut single For The Kulture, she’s breaking yet another barrier in the local hip hop scene.
WassaBee’s debut single, For The Kulture, dropped on December 20, 2024, . Featuring the charismatic and multi-talented Ace Julz, this song is a statement that boldly declares that spinning isn’t only a male’s playground, even women have a place in production and on the decks. WassaBee calls it “a sonic embodiment of my love for hip hop,” blending elements of unity, storytelling, and ambition with sleek production and raw energy. The song’s production is driven by a trap beat that demands listeners to move to its rhythm. It is the kind of song that could make anyone want to break out and krump( yes, it’s still a thing.)
“This track represents everything I love about the culture,” WassaBee says. “From drip and bars to success and influence, it’s a sound that says, ‘I’m here to elevate, motivate, and stay.’” The single expresses how cultured the DJ/Producer is as she is in touch with all elements of Hip Hop culture such as Djing, Mcing, Beatboxing, Dance and fashion. WassaBee’s involvement in every layer of culture is evident. From her presence at Ima Crystals’ listening session earlier this month, to collaborations with rising stars, she is proving herself as a participant and leader in Eswatini’s hip hop community.
FOR THE CULTURE COVER ART
What’s particularly special about this release is WassaBee’s choice to collaborate with Ace Julz, a young and emerging artist in Eswatini’s hip hop scene. As a DJ, WassaBee isn’t just spinning tracks but she’s shaping the culture and introducing audiences to fresh talent. DJs are tastemakers, the curators of what we listen to next, and WassaBee’s decision to spotlight Ace Julz speaks volumes about her dedication to nurturing the scene and highlighting its rising stars. “Ace Julz is one of the most talented artists I know,”WassaBee shares. “His storytelling and versatility inspired me to push boundaries. Working with him was the perfect way to bring this vision to life.”
Listen to For The Kulture Here
WassaBee has done her research quite well, crafting an infectious song that has potential to dominate the airwaves as well as the dance floor. With a catchy hook, that is meant to have everyone chanting “For The Kulture( Mswenko) for days on end. The song promises to resonate with everyone as it blends local hip hop slang with both Siswati and English.
WassaBee’s journey is a reminder of what’s possible when women step into spaces they’ve traditionally been excluded from. But there’s still so much room to grow. Eswatini needs more women in hip hop—not just as DJs and rappers, but as producers, tastemakers, and architects of the culture.
For now, the scene is shifting, thanks to pioneers like WassaBee. As women continue to rise in Eswatini’s hip hop scene, one thing is clear: the future of hip hop here is bold, diverse, and unapologetically female.
