Kwesta – Day One Featuring AKA & Tweezy

by Phil Chard

Do you ever read the papers, do you think the money changed us,

Do you blame us? Roof back for my day ones

Started with the wolf pack buy I ain’t Aewon - AKA

The controversy behind Tweezy and the writing of the hook on Day One is well documented, yet we are still awaiting conclusive answers around the song. Despite the storm surrounding the song Kwesta has decided to go ahead and release the song as his next single. In preparation for the single launch which will take place this Sunday (May 28th) in Zone 6, Kwesta has dropped the song on his Vevo channel for our streaming pleasure.

The song sees the K1 rapper and AKA in incredible lyrical form as they trade a set of impressive replay worthy bars

Watch The Gidi Fest Aftermovie & Riky Rick’s Set

by Phil Chard

Eclipse Live Africa, the organisers of the Gidi Fest, which they tout as “the biggest music festival in Western Africa” just released the after movie for the 2026 edition of the festival. This year the Fest featured acts like Yemi Alade, Phyno, D’banj, Tiwa Savage, Adekunle Gold, K.O, Riky Rick, DJ Obi and Small Doctor among other artists who all performed at the Fest over the Easter weekend.

Gidi Fest also released part of Riky Rick’s set at the fest. Though the Boss Zonke delivered a solid live set it is clear from the crowd reaction that SA Hip Hop still has a way to go before it becomes part of West Africa’s Urban mainstream. Peep it below

BoolZ – The Lo-Fi Tape [Side A] Review

by Phil Chard

In my former naïveté, modern rap showed no lustre, no pizazz, and no apparent value. If and when it was digested, it was all in jest; admittedly, I used to be the type to stoop to the low of listening to something ironically. At age 16, I was expressing my opinions openly on the internet, not at all very enamoured with trap as a genre of hip hop. The vapid lyrical content from hip-hop's commercial elite made the listening process a bit strenuous, while beat makers continued pushing the same club banger over and over again for the sake of selling records (I don't know how well that works out here in SA.) The climate of rap back when I was a younger young-in wasn't much different than it is now; people are still rapping while also acting like they're trapping, all the while not actually trapping (you know who your favourites are.) Authenticity seems to have reached a high point in its relevance to hit records, but oddly enough also not as fans and pundits alike can't discern who's "really out here doing it."

In a culture of bar-raising and one-upping, there's one self-described asshole taking the debauchery of previous genre innovators and maxing it out. Arguably the face of Rudeworld Records (the rap side of things) resident, BoolZ, is finding some of the freshest takes on the party-line "meme-ery" that has encumbered the genre.

A big contrast between 6-years ago and the present state of the South Africa's rap scene, lies within the introduction of different tropes, the level of production quality in relation to budget, the technical ability of up & comers; the modern rapper has access to resources like the Internet, where anyone, ranging from the average listener to the recording artists themselves, can showcase their talent in whatever way they deem fit. Influences are wide in range, and the more adept of the newer generation tends to stray away from age-old swag grabs and intellectually unacceptable lyricism, substituting it out for unique content, new cultural references, and incorporating our multiple languages into it as a whole. Make no mistake though, this hip-hop renaissance has been on the cards for some time. These new ideals are running wild within the minds of rappers, old guard and new guard alike. The genre staples from the artistic surge (e.g. Khuli Chana, K.O, Ma-E, etc ) are still making music consumed wholeheartedly by the masses, while some select young guns are taking risks, some shooting and never missing.

In a culture of bar-raising and one-upping, there's one self-described asshole taking the debauchery of previous genre innovators and maxing it out. Arguably the face of Rudeworld Records (the rap side of things) resident, BoolZ, is finding some of the freshest takes on the party-line "meme-ery" that has encumbered the genre. THE LO-FI TAPE is BoolZ's idea of the "new way to do it," flexing a nihilistic, cynical and overtly sensuous approach to flow, lyricism and instrumentation, all while handling artistic responsibilities completely on his lonesome. Breakout single Apha EKapa is as infectious as it is potent, sporting a backing track that's equal parts club-banger and lyrically enthralling.

Whatever's BoolZ landscape of choice is to produce his work, his use of the ever-famous textures seemingly derives from influences from Dirty South rap in a way which contradicts the industry banger blueprint; He focuses more on the interaction between lyrical content and musical stylings, and in the process he creates a completely unmistakable sound. It's somewhat astonishing how natural he sounds inside these dissociative, syncopated, and often uncomfortably intimate settings. BoolZ sits inside the pocket all day, every day with his music, never trying to be something he isn't. BoolZ is the allegorical depiction of the function, fit with a humorously wry set of punchlines and sample usage as in good taste as it is blatantly sarcastic. This is a conceptual divorce from struggle rapping as a form of keeping it real, while still satisfying those who seek reassurance from the familiarity of subject matter.

Everything about me ? Dope, Everyone around me ? Dope. Langa, Gugx to eNyanga ? Dope

Niggas know I'm fucking dope, bitches say I'm fucking dope, I know that I'm fucking dope

4-years of consistently dropping new material, BoolZ has three more projects, all of which still exist within the paradigm of his snide, trap-derived vision for hip hop. Songs like ON TRIPL3 6 IN THE MIX and KWAITO 2 D34TH (1995), are continuing where Bring Tha Hate tape and the Love That Hate EP left off, all on the same tip that BoolZ wants to be on with his music, contrasting only qualitatively. Admittedly it's hard to compare his projects with one another, as they're all so undeniably significant and unique to the current canon of rap; this tape separates from the rest in its coherency and consistency. Homie gets a little lyrically redundant sometimes, but it's in the spirit of creating a unified project (all of the iterations of amajita, nama medi enu, would make for a dangerous drinking game). Along with the relatively short runtime of 22 minutes, BoolZ apathetic hedonism morphs and twists, switching narratives from outward to inward throughout. This constant shifting of focus in particular makes the EP successful artistically, and any opportunity to vary the content on the tape is taken. THE LO-FI TAPE has the interesting effect of being equally rewarding to the listener regardless of how it's taken in. Each of the songs themselves can hold their own when isolated as well as fit nicely in the tracklist, which is very reflective of BoolZ multiple roles in its conception. BoolZ has an artistic versatility that allows him the luxury of copping any and every stance, whether it be his dirty south trap shenanigans (FOKOLCHANG3D 199014 SYKEDELIKSPIDANS), his affinity for sex and drugs (TRIPL3 6 IN THE MIX), etc.

On SiDope [LOFI REMIX] Lord BoolZ spits some scalding hot bars that feel like a marriage of his usual simplicity;

Everything about me ? Dope, Everyone around me ? Dope. Langa, Gugx to eNyanga ? Dope

Niggas know I'm fucking dope, bitches say I'm fucking dope, I know that I'm fucking dope

reiterating firmly on how confident he is himself and his craft, while sampling Aaliyah's "At Your Best (You Are Love)". Some of the most memorable bars on the EP come with an introspective BoolZ (2:00 AM I been sitting thinking about this cash, fuck being broke, kinda shit just makes me mad // fuck dreaming about all this money that I wish I had, fuck a 9-5 kukho ezinye indlela to get stacks") on the trilled out "Always Kreepin", basically crafting a set of lines that meshes really well with his overall aesthetic.

Ultimately, the rap game has changed; some arguing for the better and some arguing for the worst. This new breed of emcees doesn't really care about what the hip-hop heads think; they're just doing their own thing entirely.

Ultimately, the rap game has changed; some arguing for the better and some arguing for the worst. This new breed of emcees doesn't really care about what the hip-hop heads think; they're just doing their own thing entirely. Whether traditionalists want to knock BoolZ for his apparent lack of technical ability or his happy go lucky, life-of-the-party narrative, the thing that absolutely no one can strip from BoolZ is his ingenuity: his lyrical manoeuvring between synonyms and slang terms, his instantly memorable hooks and one liners; everything displayed here is uniquely and undeniably his own brainchild. BoolZ is just pumping out jams and doing his due diligence for the art form. Perhaps it's correct to argue that rap as a genre is heading south, but it'd be more correct to argue that it's been South for a while: Dirty South that is having the strongest influences on the scene right now. BoolZ has crafted a standout tape that dares to be unique in an otherwise overpopulated and oversaturated climate; he doesn't care for the comparisons or props or the masturbatory fanfare that comes with being in the rap game. Among a convoluted mass of internet rappers, BoolZ is out here carving out a special niche for people sick of the norm.

This review originally appeared on Rapfornincation and was authored by @Malume_uJayv

What I Listened To On Africa Day

by Mayuyuka

African music has always been a major part of my music collection; ranging from Kwaito to Jazz classics and even some obscure Hip Hop. In celebration of African music past and present I decided to have a look at a few releases that keep music from a previous generation alive and well, by borrowing from it and updating it for a younger audience. Think of this as the musical equivalent of continuing to pursue the goals set by the Organisation of African Unity, now done through the African Union, 53 years after the original institution's inception. Here are a few songs I picked out on Africa Day that represent that passing of the baton pretty well:

Sampling a classic track is a pretty gutsy thing to do. The attempt can lead to rapturous applause or just plainly rub people the wrong way. When it does go right it's something to behold. The Fraternity's Bheka Mina Ngedwa is a feel good song that brightens up my day any time I listen to it. The song sample's Brenda Fassie's Weekend Special and keeps the funkiness of the original alive whilst adding a fresh twist. A little bit of nostalgia is a great addition to the ingredients when making a hit, and this song will transport you to the blissful days of your childhood.

The next song on my playlist was Handiende by the mercurial Zubz. The song's guitar rhythm is hauntingly rhythmical, and provided a solid base upon which one of the most gifted MCs I've heard could rhyme. This somber tale of a disintegrating relationship owes it's being to the original track done by Steve Makoni. The track was later covered by Oliver Mtukudzi, with the similarly named Hakuendwe; and has the Zimbabwean legend wistfully croon over the outstanding guitar riff. Zubz brilliantly conveys the emotive story in his version of the song whilst staying true to the subject matter of the original.

I came across Moelogo's Penkele somewhat by chance and was immediately enthralled by the infectious bassline. This England-based artist had found a way to infuse the intensity of a Trap beat with the infectious melody of an Afro Pop song. I couldn't escape the result of this unique approach for days after I'd first heard it. A little while after my discovery, finding out the history of this song was the cherry on top. To my surprise, I found that it had reworked the original song of the same name performed by King Sunny Ade. Despite not understanding most of the lyrics, I can assure you both these songs are amazing!

In terms of politics, the continent faces the challenge of carrying the torch lit by a generation of stalwarts who envisioned a brighter future for it. Musically, the sounds of the past can also be relayed to a new generation and keep the cultural heritage of Africans firmly in our midst. Africa Day was a great time to reflect on the achievements of Africans of all walks of life... it made sense to have a proudly African playlist to go along with the celebrations!

Lynxxx – Serve You

by Phil Chard

Story of my life. God first everything else comes second

New single from Syndik8 Records frontman Lynxxx. On an instrumental laced with a saxophone and live drums prpduced by Spax, Lynxxx raps about all God has done for him.

Falz – 406 Na D Code Featuring Tekno & Skales

by Phil Chard

Nigeria’s Falz aka FalzTheBahdGuy links up with Tekno & Skales on the up-tempo Hiplife inspired 406 Na D Code.

Dee Moneey Is Giving You A Shot To Be On His New Single Shots

by Phil Chard

Queens based Ghanaian artist Dee Moneey just dropped his new song Shots. The song has a hard knocking up-tempo beat with heavy 808s but only has one verse. That is because Dee is letting fans submit their best 24 bar verses for the song. If you would like to be part of the song and have Dee Moneey release it via his platforms, download the song and add your bars on the second verses slot and then submit it on Dee Moneey’s Facebook page.

Karizma – Shisha Pipe (Official Video)

by Phil Chard

UK based Zimbabwean artist Karizma just dropped the video for his laid back, Young Nash produced track Shisha Pipe. The Ofentse Mwase and Richboy directed video was shot in a swanky luxury apartment in Sandton Johannesburg and features a cameo from Zimbabwean producer Yagi Dojo as well as a number of beautiful women who are all queuing up to light up Karizzy's Shisha Pipe.

This is definitely a great set of visuals that will be celebrated in Zimbabwean Hip Hop circles. But the oft repeated question of when and how Zimbabwean Hip Hop will gain regional appeal remains. Maybe working with the talented duo of South African directors on a song with a sound that seems to be popular at the moment will help put Karizma over the edge.

Karizma – Shisha Pipe

by Phil Chard

UK based Zimbabwean rapper Karizma just dropped a mellow and laid back tune produced by Team Rehab beat maker Young Nash. The song titled Shisha Pipe plays off the laid back tempo and synths of the beat as Karizma uses some symbolism to and metaphorical delivery to seduce a woman “that can’t wait to light up his Shisha pipe”

Cassper Nyovest Surprises A Lucky Fan With A Performance

by Phil Chard

Amstel Lager & Cassper Nyovest recently surprised one of the Maftown rapper’s fans with a performance at the Bannister Hotel in Johannesburg. Reginald Manamela got a massive treat when what he thought was a regular night out turned into a personalised concert after Cassper Nyovest popped out from behind the jukebox where Reginald selected Cassper’s last single Le Mpitse.

The Jukebox prank is part of Amstel’s #AmstelAmplified campaign that see the beverage brand partnering with South African artists to surprise unknowing fans. Back in March Amstel partnered with AKA to surprise one of his fans at a Karaoke events at the Hard Rock café.

[button url=http://www.amstel.co.za/ icon=laptop]You can get more information on the #AmstelAmplified campaign here[/button]

Burnaboy – Duro Ni Be Featuring Phyno (Official Video)

by Phil Chard

Nigeria’s Burna Boy just dropped the video for the fourth single off his sophomore album On A Spaceship. The MattMax directed visuals for Duro Ni Be feature the Igbo lyricist Phyno .

Fecko & Teck-Zilla – Fela Must Rise (Official Video)

by Phil Chard

Back in February we featured Fecko and Teck-Zilla’s tribute album to Fela Kuti titled A.R.T. The Nigerian duo have now dropped the visuals for one of the most popular songs of the project titled Fela Must Rise. The video was directed by AKD of Block20 Media

If You Can’t Afro Beat Them… Of Ignorant Ebro’s, Drakes & Wizkids

by Contributor

Listening to AKA’s collaboration with Diamond Platnumz led me to a realisation: the advent of infusing Afro-rhythms in hip hop is here. AKA’s venture into Afro-Pop shows just how influential the genre is becoming. The prominent fusion of a diverse range of distinctly African sounds by mainstream musicians is upon us.

Although a growing number of artists have gone the Kwaito sampling route lately; most South African Hip Hop is still largely indebted to American inspired trap. This isn’t really a problem by the way, and here’s why: Both AKA and Wizkid provide a great example of the genre straddling we’re likely to see from artists. Wizkid’s inclusion on Emtee’s Rollup (Re-Up) shows he’s equally as comfortable on a trap anthem as he is on a full-on pop song like DJ Maphorisa’s Soweto Baby. And AKA seems to be following that formula too. Make Me Sing is undoubtedly a pop song, with a catchy hook and heavy Afrocentric undertone.

[button url=https://www.africanhhb.com/2016/04/akas-one-time-proof-now-south-africas-biggest-pop-star.html icon=windows]Read our article on how AKA is trying to go Pop[/button]

I’m excited to hear if this the angle AKA follows on his upcoming album. His alliance with Burna Boy as part of the A- Team can only help broaden his appeal as his song All Eyes On Me proved. So should we expect more of that sound on his new offering? I think so. With his planned domination of the African continent no secret, it’s no surprise that Afro-infusion is the route AKA is going. With over three million views of the Make Me Sing video, this is likely to translate into support on the ground. I definitely foresee a new trend emerging both locally and globally. For instance, Drake's One Dance ‘features’ Kyla and Nigerian sensation Wizkid with additional production work done by South African DJ Maphorisa. This song gave him his first Billboard number one after years of cuts that seemed destined for that position.

Enter Ebro Darden, popularly known as DJ Ebro, radio host at American station Hot 97. He recently took to Twitter to reveal how Drake opened the door for Afrobeat, but insists the music should be quality for it to stand a chance of further growth. Apart from the condescension towards genres that are considered peripheral to the mainstream, this serves as a great opportunity to clear the air. Perhaps dealing with the frequent use of misnomers proud genres are referred to by is necessary too. Labelling Dancehall as Tropical House seems to happen often and contributes to a long of history of erasure. Similarly, referring to Afro Pop as Afrobeat merely due to the geographical location of an artist is pretty lazy. Artists like Wizkid make pop the same way any pop artist would anywhere else in the world: influenced by the sounds that surround them. They aren't, however, automatically Afrobeat because they are African.

Ebro’s suggestion here is that Drake has given Afrobeat artists the opportunity they've all been waiting for... he single-handedly put a whole genre on! He is automatically a cultural gate keeper by virtue of his profession and comparative proximity to the music industry. His opinion has both value and reach! Now this isn't a review of Drake's Views. It is, however, about perspectives. It regards the unrelenting perceptions the west has towards Caribbeans and Africans. It also isn't about whether a Hennessy wielding Drake can take someone else's girl if he wants to. Although “no one man should have all that power”; he also shouldn't receive so much unnecessary credit: particularly with regards to the Afrocentrism I mention above!

Drake's music open the door for Dancehall & AfroBeat... But the music has to be great!

— Jon Snow Ebro (@oldmanebro) May 19, 2016

To single out Drake may seem unfair here, but his tendency to ride waves and adopt lingo, flows and tracksuit-wearing from others makes him a culture vulture par excellence. His affiliation with everything from sports teams to upcoming artists seems to be done in service of his success and not theirs. A case in point is Drake's use of patois in his Views album. It is both cringe-worthy and for lack of a better term; exploitative. Songs like Controlla, With You, Too Good and of course One Dance all have a Dancehall or Afro sensibility. Drake, however, didn't even have actual features of the artists that influenced these tracks. Popcaan was unceremoniously removed from Controlla with a Beenie Man sample preferred, whilst Wizkid is also sampled rather than featured on One Dance. Add to this the track 9’s interpolation of Mavado’s Dying and such things are hard to ignore as they mimic a long history of erasure!

Granted samples of Pimp C, Mary J Blige and DMX all make an appearance on Views; but Drake isn't credited with opening a door for RnB or growly-voiced rappers. It is simply regarded as a sample. Now I have nothing against sampling: I'm a fervent supporter of it actually; but it looks like something else is going on here. It seems Drake wants to use the pulling power of these artists and their respective genres for his sole benefit. From where I'm standing being associated with a Wizkid or Popcaan gives you a certain level of authenticity whilst your appropriation of a broader sound takes place. Drake seems to want to appeal to demographics that are represented by Afro and Dancehall artists without offering them an actual feature or even giving credit. In short, they have supporting roles in Drake's masterful act of being multi-cultural.

Apart from unwittingly hanging Drake out to dry regarding this, it would help DJ Ebro to have a less patronizing approach to peripheral genres; because they represent real people who are excluded from society in more ways than just musically. To try and reinforce a false superiority complex based on your predilections is not just careless; it is harmful by design. Regardless of where Drake's career (in music or acting) goes from here, or how Ebro's opinion evolves; there seems to be a global shift to be more Afrocentric. Gear up for it 'cause if you can’t (Afro)beat them...

If You Can't Afrobeat 'Em

That’s What The Old Tumi Would Do

by Contributor

Friday night at the Arque restaurant in Sandton’s upmarket Diamond Walk was not exactly what you would expect for a Hip Hop single launch. The Diamond Walk- an elite upmarket section of Sandton City that houses brands like Prada, Dolce & Gabbana, Giorgio Armani, Louis Vuitton and Gucci is a world apart from Newtown’s Bassline, a venue that has played an influential role in Tumi’s career.. The upmarket stores are all located along quarter mile long walk that bridges Sandton City and the 5 Star Sandton Sun Hotel.

[pullquote]“A Stogie is a cigar…. and cigars have come to represent you know a certain elegance and growth for me”

It was all glamour with a generous drizzle of Hip-Hop. The hip-hop aficionado Tumi Molekane graced us among the crystal champagne flutes and lights for his debut as an artist performing under the new moniker, Stogie-T. Traditionally, artists adopt different stage names as a guise to experiment with new sounds or styles without doing away with their individual musical identity. Tumi (Molekane) is an accomplished rapper who has reinvented himself a few times over as a solo artist, then the lead of the now defunct Tumi And The Volume then once again as a solo artist. Sandwiched in between those career reincarnations are his collaborations with the French Outfit Chinese Man.

There is always a great deal of unpredictability surrounding an artist’s change of stage name. Will the reincarnation follow the line of those of David Bowie or the abject mess that was Snoop Lion?

With Stogie T we already has few hints before the event via the singles which he dropped earlier that day and a brief statement which read

Tumi represented an idealistic young black male emphasizing the nest of human nature and yearning for a better world, Stogie T simply represents the world as it is whilst retaining peerless lyricism”

Stogie T was very much still like Tumi, the wordplay and delivery remained a constant, the shift seemed to lie in his sound and subject matter. The shift was also evident in Tumi’s styling on the night. Stogie opted to wear designer loafers on the night, where Tumi might have opted to don a pair of Jordan’s from his vast collection of sneakers. As he summed up in a speech

“A Stogie is a cigar…. and cigars have come to represent you know a certain elegance and growth for me”

Initially the launch was a gathering to Diamond Walk and Big Dreams and Stogie-T insisted on only giving us brief introductions as opposed to a performance because “I’m cold, that’s what the old Tumi would do!” but staying true to his inner Tumi he gave the crowd an unexpected (even to himself) performance of his trap banger Everybody Clean (which caused a great deal of discussion on social media when he performed it on Urban Sessions thanks to a certain line that address Riky Rick and Reason) a moment that was ultimately breath-taking. He engaged the crowd with such ferocity and reminded us what magic big talent can really pull off in the heat of the moment. The music is hip, fresh, lyrically smart and the musicality is unmatched as far as I have heard. It’s not just another day in Hip Hop for this new artist.

Favourite Producer-Rapper Partnerships

by Mayuyuka

In the spirit of focusing on the sterling contributions to the game by African producers, we decided to have a look at a few of our favourite producer-rapper combos. What we had in mind was a duo (or any other size and shape set-up) that's managed to come together three times or more to produce classics. We also try to give an update on what the producers may have branched out to from their roles behind the scenes.

A range of old and new alliances have formed over time so here's an overview of matches made in musical heaven: We sometimes take producers for granted and to borrow from a phrase swirling around; this is our little offering to the 'producers must rise' movement. Tweezy and AKA have a promisingly formidable partnership. From churning out hits like Run Jozi and All Eyes On Me to the brilliant Sim Dope, these two are hand and glove when it comes to dropping hits. Recent exchanges on social media might dampen this relationship, but despite a controversial start to a solo career Tweezy hasn't shied away from leaving life from behind the decks. An example of his solo offerings are the trap song Ambition and the controversy-surrounded Bonang performed below:

Priddy Ugly's project You Don't Know Me Yet is entirely produced by Wichi 1080. Apart from the impressive fact that a solitary producer on an album is exceedingly rare nowadays... the different kinds of beats included on this work keeps it a refreshing listen! From standout tracks like Cocaine Ghost and the Big Star Johnson assisted Nobody, to the certified banger Bula Boot: the production deserves a string of fire flame emojis. The dope beats work in tandem with Priddy's delivery and voice to provide a unique offering you can sample out here:

Sarkodie, the criminally underrated rapper hailing out of Ghana has an unfailing ear for melodic beats. Jayso is responsible for most of them, also managing to fuse Hip Hop and Dancehall to create irresistible Hiplife cuts like the catchy Special Someone that features Burna Boy and AKA. Jayso runs his own label, Skillions Records; where he's also released a solo album named Making Tasha Proud. This debut release, inspired by a true story, features a few other Ghanaian mainstays such as Efya and M.anifest. Peep the title track ft A.I to track his journey from behind the decks:

Wizkid's dominant run has seen him stride mammoth paces over the past couple of years. He has, however, been on this journey with the dependable Sarz who has helped mould Wiz into a globally recognised pop star. This partnership has led to regular stays on pop charts across the land. Here's an early Femi Kuti-featuring, Sarz-produced example of the fusion between Afrobeat and Pop we've become accustomed to over the years:

pH Raw X is responsible for working with pretty much everyone in the South African Hip Hop scene. His CV reads like a dream, either solo or part of music production team Octave Couplet. The famous Raw X Studios are responsible for work on albums such as Zubz' Coachella and AKA's Altar Ego. What stands out is his linking up with Khuli Chana on both his albums Motswakoriginator and Lost In Time. pH spreads is talents further than just Hip Hop releases. He shows his versatility on his album From Giyani With Love alongside Thandiswa Mazwai in Wa N'Tiva(Bo't) below:

Shom C and Zone Fam carve out a distinct Zambian sound by mixing elements of Hip Hop and a sprinkle of both Zed and Afrobeat. Rappers Jay Rox, Dope G and Yung Verbal prove that this is a successful formula by featuring Badman Shapi and Nigerians Ice Prince and Patoranking in Slow Mo. This track showcases the best in both the production and lyrical aspects this combination of a trio of rappers and one beat head offers. Have a listen after the jump:

A relationship that allegedly went through a period of acrimony was that between Thasman and HHP who brought us hits like Harambe and the Cassper Nyovest-featuring Wamo Tseba Mtho. It's Bosso that got a huge ad placement from a local mobile operator though, and probably ranks amongst the greatest success of a duo. Revisit it here, and see if it rings any bells:

From the producer-rapper who specialises in Batman and Robin styled duos, to those that have the skill to work with a range of artists: the value of solid production is something we'll always appreciate. For some of the producers we've covered, they continue to strengthen partnerships with specific acts whilst others focus on their solo endeavours now. Whichever way their next chapters play out... we hope it's not strictly by ear!

Teamwork Makes The Dreamwork: Solo South African Hip Hop Artists and Squad Goals

by Phil Chard

Throughout our youth, we've all probably been bombarded by numerous idioms regarding the company you keep! Some of the usual idioms go along the refrain of birds of a feather flocking together, the closest people around you defining who you are and, of course my favourite, how since you can't choose your family you best make a success of the friends you choose.

In a hip hop context, decisions of this nature are perhaps more important to get right; as the team an artist chooses plays a major role in the kind of persona they develop. I've always been fascinated by where it all began for some of the most successful rappers. After witnessing an ugly twitter exchange between two old musical colleagues, I was prompted to harken back into the past to see just how many solo South African hip hop artists started out in the fold of a group. Granted, both friends or crew members don't always last forever but they're still influential in shaping the solo artists we see blow up! So... how are a few of these former group members faring today? Let's take a look:

Like a few people my introduction to Motswako came via Morafe, who remain one of my favourite groups. This Mafikeng based ensemble introduced a younger me to a new sound and challenged my claims of being bilingual with witty bars and clever punchlines delivered in vernacular. Made up of KG, Towdee Mac and Khuli Chana; they provided head-nod inducing tracks such as The Whole Thang and the Letta-Mbuli-sampling Letter To Motswako.

Arguably Khuli Chana has been the most successful in a solo capacity, with his second album Lost In Time being the first hip hop album to garner a SAMA award for album of the year. He has continued to build his solo brand but the contributions of his former partners towards his own work has kept both Towdee Mac and KG firmly on the scene. In spite of the dissipation of the group the bonds formed previously remain strong amongst these three. A classic example of a reunited Morafe was them appearing on Khuli Chana's Hape Le Hape Pt 1 alongside AKA, Zeus and Reason. Starved fans can look forward to more material soon as the group's long awaited reunion is slated for sometime this year.

Most recently in his own capacity Towdee Mac has contributed to the DJ Lemonka and Tattoo Lefoko helmed 2744 Mixtape, with a feature on the standout track North West Party. Meanwhile KG remains the sturdy right hand man; serving as Khuli Chana's music director during the album recording process. He also had a hand in AKA's sophomore album Levels by helping pen the hook on Let Me Show You where he also gets a shout out affectionately referred to as 'Kaygism'. Still on the topic of AKA: he, in turn, had his start out with a crew called Entity. He appeared alongside two other rappers named Vice Versa and Greyhound.

This youthful trio owed their breakthrough to their catchy songs First Gear and Touch and Go. These two singles catapulted them into national stardom before they suffered a disbandment just as rapid as their rise was. Whilst Vice Versa chose to go the academic route and is currently at Oxford University, sadly not much has been heard of Greyhound. Apart from his penchant for rap, AKA's often overlooked production skills helped him form another trio in what threatened to be a production powerhouse in South African Hip Hop. IV League is the partnership that crafted the sound of his debut album Altar Ego and included AKA, Kamza and Buks. Whilst Kamza followed a different path as a television presenter, Buks resurfaced as one half of BETRGANG alongside Solo. This critically acclaimed duo released their project We Need a Title which was released via their website http://www.betrgang.co.za/.

It seems there's practically no chance of either one of these AKA aligned trios reforming or collaborating as frequently as the Morafe members do, but AKA clearly has a new musical collaborator in the form of the self-proclaimed 'North God' Da L.E.S.

Da L.E.S first broke out onto the scene with the foursome Jozi that included Ishmael, a veteran of the South African music scene, Bongani 'Bongz' Fassie and Crazy Lu. As time went on Jozi shed members until the duo of Ishmael and Da L.E.S remained. Eventually the two decided to go their separate ways with both artists still keeping afloat. Conversely, both Crazy Lu and Bongz have failed to leave a lasting mark on the game in recent times. Bongz did release a diss track not so long ago, but the less said about that the better! In a lesson of how to remain integral to the fabric of South African music Ishmael featured on Arthur's summer hit Summa Ya D'Summa whilst Da L.E.S has racked up some solid bangers off his two independently released albums Mandela Money and the still hot off the press North God.

Coincidentally AKA and Da L.E.S both share musical journeys similar to that of Maggz; an artist they've accompanied on tracks like Heaven and the highly anticipated Real Stuff. Having been groomed by ProKid (now simply Pro); Maggz came up alongside L-Tido, Morale and Sean Pages to form what can only be described as the rap super group Glitz Gang. Fortunately for this crew, all these rappers have healthy careers with releases such as Dlala Ka Yona, Lotto and Blind charting well for the respective acts. Now focused on building a solo career that includes a much awaited follow up album; Maggz is affiliated to Cashtime Life which is also the home of fellow rappers K.O and Ma- E. These two first came to our attention as members of Teargas which also featured Ntukza, who declined the move into the Cashtime family. K.O's solo success was cemented with the Lunatik Beatz produced, kwaito-infused track Cara Cara; that provided my soundtrack to many a memorable night. Ma-E has recently spread his wings with the release of his solo offerings including uGogo and his AKA assisted Lie 2 Me off his Township Counsellor album.

Viber Public Chat: How To Build An Electronic Press Kit

by Phil Chard

The African Hip Hop Blog was chosen as one of Viber’s launch partners when they launched their new Viber Public Chat feature a few months back. Since it began we have experienced tremendous growth and engagement on the platform. We use our Viber public chat as a forum to allow for discussion and debate cantered around the African music industry and the culture. We encourage anyone interested in getting the latest news and opinions from influential voices across the continent to follow along. If you would like to be part of the debates and contribute, please get hold of me on twitter @PhilChard.or the blog @africanhhb

The African Hip Hop Blog was chosen as one of Viber’s launch partners when they launched their new Viber Public Chat feature a few months back. Since it began we have experienced tremendous growth and engagement on the platform. We use our Viber public chat as a forum to allow for discussion and debate cantered around the African music industry and the culture. We encourage anyone interested in getting the latest news and opinions from influential voices across the continent to follow along. If you would like to be part of the debates and contribute, please get hold of me on twitter @PhilChard.or the blog @africanhhb

C-Real – Boss Featuring Sarkodie

by Phil Chard

C-Real the EMCEO just surprised he innanets with this incredible joint. The single Boss features Sarkodie as the two Ghanaian lyrical heavyweights deliver hard hitting bars like;

“Now I’m back in the zone, rattling raps and I’m packing a flow,

Grappling facts that my act can control,

Feel it in every spec of my soul now respect me I’m dope

And I’m bad to the bone……

If I conceive it, I’m birthing it period!”

Stogie T fka Tumi – Big Dreams & Diamond Walk

by Phil Chard

I make it real she taking pics in off season vacations

Wasn’t big in crustaceans, now every fish dish coming Michelin validated- Big Dreams

Tumi Molekane is no more, well at least for his new project. The South African lyricist has just announced a pivot in his sound and a new moniker. Now going by Stogie T , the artist formerly known as Tumi said this about the new name and style via a press release

“.. Tumi represented an idealistic young black male emphasizing the nest of human nature and yearning for a netter world, Stogie T simply represents the world as it is whilst retaining peerless lyricism”

After providing us with a short snippet of what he and Tweezy were working on the studio, Stogie T has released two singles produced the young beat maker. The R&B- Soul influenced Diamond Walk and the synth heavy aspirational anthem Big Dreams.

Stogie will be launching both singles at the Sandton Diamond Walk later today

The AHHB Podcast Featuring HHP fka Jabba Man, Shane Eagle, Flex Boogie & Wiseman Ngubo

by Phil Chard

The best African hip Hop podcast is back with what could be our best episode to date. In this episode Phil features music from Reminisce, Alikiba & MI, Ice Prince and DJ Switch.AHHB Podcast V 2

Phil also speaks to Jabba Man fka HHP in an open conversation where Jabba shares his frustrations and his new outlook on life. Look out for the full interview to be in a documentary that we are doing on HHP dropping soon.

While at Back To The City The African Hip Hop Blog partnered with Siphiwe Zwana aka S Dot to interview a number of artists regarding the significance of the festival and Hip Hop’s place in social movements. We play two interviews that were done with Shane Eagle & Flex Boogie

Phil also interviews Wiseman Ngubo from COPASA who discusses the SABC’s new 90% content rule and how this will affect the South African music industry.