Six months into the year and South African rappers have already dropped some of the hottest verses, on posse tracks, you will hear all year. Here are seven of the strongest, in no particular order:

Moozlie on Rouge’s “Mbongo Zaka”

Moozle showed great improvement on “Mbongo Zaka”. The verse is one of her strongest to-date. Its strongest trait is her delivery. Her subtly hoarse voice plays to her advantage, as she spits with an menacing conviction, making sure you believe when she says, “I’m ‘bout that Blanco money/ That when I step up in the room, you better focus money/ And if you standing in that way, I have to take your money. ”   

Nasty C on Stilo Magolide’s “Day Off”

Stilo’s not a lyrical rapper, so Nasty C didn’t have much to compete with, but he still brought his A-game. He wastes no time. The first four bars are fire: “I heard if you stay on it pays off/ So I took a day off from day-offs/ I want a 368 with the head off/ Okay, that’s a couple of Ks taken care of.” Nasty C has one of the most solid deliveries in the game right now, and it never gets old.

Youngsta on Priddy Ugly’s “Come to my Kasi”

Youngsta’s verse on “Come to my Kasi” is intimidating. His delivery is vicious, and so are his lines: “Fuck a social life, on the corners is where I chill on/ Rappers want beef, I hang them up like biltong/ You just a [?] man and pussy with granny panties/ Don’t call me fam or family, keep it clean like Handy Andy”, reveal a hungry rapper out for the kill. Priddy Ugly’s verse was also dope, but it couldn’t survive Youngsta’s.

Nasty C on DJ Vigi’s “Bang Out”

“Bang Out” is a difficult song to judge. DJ Vigi assembled three of the most technically-skilled rappers, in what could be the best rap song of the year. All three rappers, especially K.O. and Nasty C, had scotching verses. I like Nasty C’s better. He surprises me all the time. It’s hard to tell when he will end his lines and that creates anticipation. His lines are simple yet potent.

Reason on DJ Switch’s  “Now Or Never”

This is another difficult track to judge because every verse is proper. The second half of ProVerb’s verse is perfect – his flow’s accurate and his rhyme scheme is complicated but he pulls it off so well. Reason’s whole verse is what the second half of ProVerb’s is. On lines like “To you who enter with new perceptions choose your dilemmas/ Do what you do how you do it or just do what the rest does/ Either way, know you’re going toe to toe with the Kwestas, the Xs/ And that’s just you keeping up with the Kardashians”, Reason applies his wide vocabulary on coherent lines that make sense and display his flair.

AKA on Ma-E’s “Don’t Lie To Me”

With accurately timed pauses and a natural conviction in his voice, AKA owns Ma-E’s song. AKA brings us a conflicted human being on his verse. He begins with some self-reflection ends the verse by reflecting on how far he has come in the game. From his flow patterns to how the verse transitions from an aspect of his life, it’s clear AKA did more thinking before putting pen to paper.

Okmalumkoolkat on Kwesta’s “Mayibabo”

It’s not because of the lyrics that Okmalumkoolkat’s verse on “Mayibabo” excels. It’s the flows – if Phuzekhemisi or Bhekumuzi Luthuli were rappers, they would probably sound like Future Mfana on this verse. He fuses those rueful maskandi drawls into his raps, and does it so effortlessly, you ask yourself what it is the man can’t do.

Image of Nasty C, by Sabelo Mkhabela

What do you think of our list? Who has the best verse of 2016 so far? Let us know in the comments section below, or on Facebook and Twitter.

The post 7 of the best South African hip-hop verses of 2016 so far appeared first on Live Mag.

If you’re only hearing about Kwesta’s greatness now that you’re jamming to “Ngud’“, you’re late. The Katlehong-native has been killing it since 2007 when we first introduced to his infectious brand of kasi-inspired, punchline-driven hip hop.

Don’t believe us? Here are nine hits that prove he’s not too far off when he calls himself Da King of African Rap (DaKAR).

“Sharp Fede” (2007)

“Sharp Fede” was Kwesta’s introduction to mainstream South African hip-hop. And what an introduction it was! He delivers his hard hitting punchlines so effortlessly, you’d swear he does this kind of stuff in his sleep. His rhymes are always perfectly timed and every line on this song is a punchline. “The only reason you’re on fire is because ngiphethe itoss / Even when I’m touching you, si’roller nge rizzla ngikubheme ‘cause I’m done crushing you,” he raps.

“7 Day Hustle” (2010)

This is probably one of the most slept on tracks in Kwesta’s catalogue. The song first featured on the 21st volume of Hype Mag’s mixtape and went on to appear on his debut as well. The song has a soulful vibe to it and was a departure from his signature punchline-heavy rap. There was no talk about girls, liquor and all of that, just him sharing his hopes and dreams and how he plans to achieve. If anyone thought Kwesta was one dimensional, this was the initial evidence that he could easily switch up between upbeat hip-hop and more laid-back introspective joints.

“Pump It” (2011)

Remember this? Of course you do. Released in 2011, Pump It became went on to become the theme song to DSTV ad. Kwesta has never been shy to experiment with different sounds, away from his laid back flow we know him for. On “Pump It”, he rapped over a casual flute and bouncy drum pattern, yearning for a Shakira hook. Kwesta proved he could flow over any beat thrown his way.

“Take That” (2011)

If you’re looking for a marker in Kwesta’s career, a signifier of his rapidly rising popular, look no further than this. Although he’d already started establishing himself as a contender for SA hip hop’s throne, Take That catapulted Kwesta to newfound heights.

The track’s music video can be credited as the reason for its popularity. The video featured a then popular dance group called The Repertoires and they featured behind the scenes footage of Take That on their show. This isn’t to say Kwesta didn’t deliver on the song itself. Far from it. The joint was pure heat and saw him spitting punchline after punchline over an up-tempo beat.

“Thul’ Ujaive” (2013)

The featured guests Zakwe and Kid X complemented the track and Kwesta very well with their equally laid back flows. “Thul’ujaive” is a party starter; with a catchy beat and lyrics fraught with sexual innuendos, an intent to jaiva, and leave beer bottles upside down. Kid X’s catch phrases and Zakwe’s mad lyricism just complete the package.

RELATED: 7 of the best South African hip hop verses of 2016 so far

 “Boomshakalaka” (2014)

“Boomshakalaka”, the first single on Kwesta’s second album, DaKAR, was a snippet of what heat he had in store. The album went on to win the title of Best Hip Hop Album at the 2014 Metro FM Awards. The song, featuring Kid X, solidified his mainstream presence, as his popularity began to grow exponentially since then. Kwesta was slowly finding his voice, employing a nonchalant flow, that has grown to be his trademark.

“King Speech” (2014)

“Now let me tell you how I see myself/ F*ck being a star, if I can be myself.” That line at the beginning of the song sets the tone for the rest of the song. He addressed beef in the game and his relationship with his ex-bosses at Buttabing, Slikour and Shugasmakx. This single was released after the infamous 2014 MTVBase SA Hottest MCs list was announced, where he was placed ninth. Kwesta maintains that the song was not a response to the list, but an ode to his fans who feel that he is never given enough credit.

“Nomayini” (2015)

“Awu ngithi jaiva ufuthumale nana/ Thina sibu shaya ku phumi langa tanga” This was the first single off, Dakar II. Kwesta is a self-professed beer lover, hence the lyrics to the song come as no surprise. “Nomayini” is a feel-good song coupled with a fun, yet sexually provocative music video. It has a skhanda rap feel to it, a mixture of hip hop and pantsula sound, yet again showing us that Kwesta’s sound can fit it everywhere.

RELATED: Behind the beat: Tweezy on producing some of SA hip hop’s biggest hits

 “Day Ones” (2016)

If the trap beat on “Day Ones” sounds familiar, then it’s probably because you’ve heard it on Cape Town-based rapper Ejay’s single, which has the same name. The drama surrounding the Tweezy-produced beat aside, Kwesta’s track is still flames. He delivers a smooth verse where he shout outs his ‘hood. Tweezy’s Young Thug-style hook and AKA’s solid verse make for a complete song, guaranteed a spot on your playlist.

The post 9 hot singles from the man who brought you “Ngud'” appeared first on Live Mag.

International magazine, I-D, called her the “patron of South Africa’s intersectional hip-hop scene”. She has already collaborated with London rapper, MIA, on a campaign for H&M. But it’s her skill as a rapper that will make you stand up and listen to Dope Saint Jude.

She just released her debut EP, Reimagine on which she has featured the likes of rapper Andy Mkosi, guitarist and UCT lecturer Adam Haupt among others. We went behind the scenes to see how the magic happens in the studio.

Video: shot and edited by Onele Liwani

Feature image: Andiswa Mkosi 

The post [Video] Behind the scenes with Dope Saint Jude, one of Cape Town’s hottest rappers appeared first on Live Mag.

Durban producer Sketchy Bongo is probably one of the most versatile producers right now. While his most famous production may be “Back To The Beach”, the man has produced some heaters. We list some of his strongest, below.

Ryki ft Aewon Wolf “Please Try”

This is probably one of the man’s best productions so far. “Please Try” has a lot of potential – it could be as big as Major Lazer and DJ Snake’s “Lean On”. Ryki’s laidback vocals float naturally over breezy pads, and sinewy synths that give the song a laidback feel. The drums, however tell you to stand up and do the nae-nae, while Aewon Wolf’s verse gives the song a hip-hop appeal.

Sketchy Bongo & Shekhinah “Let You Know”

After the success of “Back To The Beach”, all eyes were on Shekhinah, Kyle Deutsch and Sketchy Bongo to deliver a song equally good. The two connected again, this time without Kyle, on “Let You Know”, and didn’t even try to make anything similar to their previous hit. The single has a higher tempo, and a club feel. Shekhinah’s voice is powerful and combined with the music Sketchy Bongo throws her way, comes another treat that will exclude Shekhinah out of the one-hit wonder conversation.

RELATED: Shekhinah feels no pressure from the success of “Back to the Beach”

Tribal and Aeon Wolf “A Week Ago”

Let’s admit “A Week Ago” is a corny song. I mean: “I know we hooked up a week ago, but ng’yalobola already”? But so are most love songs on radio. This track had all the makings of a radio hit, it’s extremely catchy, and the concept is easy to grasp. No wonder it became a permanent fixture on 5FM last year. Sketchy Bongo knows how to make pop beats, and Tribal and Aewon Wolf did a great job on the vocals.

Jimmy Nevis and Sketchy Bongo “All About It”

“All Night” wins with a catchy vocable on the hook. Jimmy Nevis sounds at home over the EDM beat. The music switches back and forth between loungey and vibey. The song is a proper pop hit – with a catchy hook and beat, and soothing vocals, as we have grown to expect from Jimmy Nevis.

Danny K “In My Head”

Danny K hopped onto the Sketchy Bongo bandwagon for his latest single. On “Inside My Head”, the producer gives Danny K an EDM instrumental. The beat is synth heavy, and woozy – it teleports you to a club with strobing disco lights, full of sweaty bodies on the dance floor.

Locnville “Cold Shoulder”

Another EDM production from the masked man, “Cold Shoulder” is also a dance floor heater, currently climbing up the 5FM charts. The Locnville twins lose the baritones they usually sing in for more melodic vocals. This could have been a great December hit, but it sadly came in winter. That doesn’t stop you from jamming to it, though.

Patty Monroe “Talk”

“Talk” is a bass-heavy trap track. Patty Monroe’s delivery is vicious, matching the high-pitched pads and synths Sketchy Bongo flexes with, on here. The producer makes it look easy, as the beat to “Talk” is simplistic, yet still doesn’t sound empty. It leaves enough space for Patty’s lively rhymes, and personality – which complete the song.

Aewon Wolf featuring Gemini Major and Khuli Chana “Walking and Dabbing”

Such is the strength of The Wolf Pack – Sketchy Bongo’s crew, that a veteran like Khuli Chana chose to get involved on a Sketchy Bongo song. “Walking and Dabbing” is a pure trap anthemic banger, with an addictive hook. The beat is multi-layered with pattering hi hats, and subtle sirens.

AKA x JR “Screams and Cries”

Two more hip-hop heavyweights caught onto the Sketchy Bongo hype. A cautionary tale of love gone wrong and casual hook-ups gets told by JR and AKA over sensual synths and pads by Sketchy Bongo. If you thought “Back To The Beach” was the smoothest production Sketchy Bongo can pull off, you might want to try “Screams and Cries”.

Follow Sketchy Bongo on Twitter, Facebook and SoundCloud.

what other great Sketchy Bongo-produced songs can you think of? Let us know in the comments section below, or on Facebook and Twitter.

The post 9 great Sketchy Bongo-produced songs that aren’t “Back To The Beach” appeared first on Live Mag.

DJ Switch’s latest single, “Now Or Never”, is a dope posse track. It has had people debating the tightest verse, especially on the remix, which featured 12 emcees. We look back on some of the freshest posse cuts that have come out of South Africa in the past 10 years.

Disclaimer: A posse cut must have at least four rappers, and they must not be part of one recording group.

“Heavy 8” by Zubz, arguably one of the best posse tracks in South Africa, didn’t make the list because it was released in 2004, which was 12 years ago.

Clara T, Payne Killah, Lady Killah, Static Flow, Ghetto Lyricist, Ash, Lubar, Assessa “Ladies Night” (2014)

“Ladies Night” was pure #BlackGirlMagic. Nine up-and-coming rappers gathered for an exhibition of nothing but skill on the mic. The instrumental was ominous, with a heavenly choir, classical strings and a subtle bassline. All emcees brought their A-game. At just above 7,000 YouTube views, “Ladies Night” is one of the most overlooked gems of our era.

DJ Azuhl featuring Youngsta, Ill Skillz, Jean Pierre, EJ Von Lyrik and Ben Caesar “Follow Us Home” (2014)

DJ Azuhl’s “Follow Us Home” is a smoothie where rappers, though gunning for excellence, aren’t necessarily out to outshine each other. All verses are proper, as the Cape Town emcees give their perceptions of the Mother City’s ups and downs. The track is emotional and laidback, pity it was slept on. My favourite verse is by Jimmy Flexx, can’t mess with that flow and that poetry.

Riky Rick featuring DJ Dimplez, Kwesta, Maggz, Ginger Breadman, Nadia Nakai and Okmalumkoolkat “Amantombazane” remix (2014)

This track caused havoc last year. It was entertaining hearing an array of personalities over that eerie beat. From Kid X and Kwesta’s mumble flows, to Maggz’s laidback delivery, Okmalumkoolkat’s simple rhyme schemes and all the way to Ginger Trill’s raw battle-ready scripts, it was a buffet with something for everyone. The track also caused a lot of controversy with Kwesta claiming his verse was the best, and Sizwe Dhlomo arguing to the contrary. Every rapper came through. Well, except, maybe for Nadia Nakai.

Reason featuring Tumi, Ginger Trill, Tumi and Monoea “No Sleep” Remix (2013)

Reason had just lost his son. His verse was bound to be emotional, knowing how unashamed the rapper is of talking about his plights on tracks. He outshone Tumi and Ginger Trill – two of the country’s strongest lyricists, who both dropped strong verses. He did that with a verse that was skillfully delivered and spiced with clever punchlines, similes and metaphors. An extract from his verse: “I’m thinking, how can they doubt me?/ They thinking how can you not sleep?/ I’m thinking the most I spent on my son was a funeral paid with rhyme schemes/ Rest in peace to Lil O/ May God accept his lil soul/ I’ll do my best to accept that he’ll never see me kill shows.”

Slikour featuring Morale, Spaceman, Maggz, ProVerb, N’veigh, Blaklez and Kwesta “Eight” (2007)

On his 2007 album Ventilation Vol. 2, Slikour got Morale, Spaceman, Maggz, ProVerb, N’veigh, Blaklez and Kwesta for an energetic posse cut. It was a punchline fest from some of the country’s skilled rhymers. The song had all rappers spitting eight bar verses – which meant rappers made an effort to waste no time, and got to the point as quickly as they could. A gem worth bumping every now and then.

Miss Pru featuring Emtee, Saudi, Sjava, Fifi Cooper, A-Reece, Benchmarq “Ameni” (2016)

“Ameni” was a showcase of the indie label Ambitious Ent’s roster. While posse tracks usually focus on raps more than anything, “Ameni” is characterised by melodic verses and a sung hook. It’s not a bad thing, as each and every artist showcases their skill in the 16 bars allocated to them on the bass-heavy beat. Emtee and Fifi Cooper ease you into the track with sing-songy flows, before A-Reece, Saudi and Benchmarq spit clean sixteens.

DJ Sliqe featuring Riky Rick, Reason, L-Tido, Kwesta, Nadia Nakai, Flabba “Do Like I Do” Remix (2015)

DJ Sliqe’s combination was predictable – he went for the big guns – Riky Rick, Reason, L-Tido, Kwesta and Nadia Nakai. The only surprise feature was the late Flabba, whose verse is humorous with some tongue-in-cheek lines like “To me every day is like that time of the month, so of course I flow the most”. The track has decent verses, but its catchy beat and hook make sure it doubles as a dancefloor track. Oh and that Kwesta verse is money.

RELATED: In memory of Flabba

DJ City Lyts featuring Emtee, Fifi Cooper and Benchmarq “Washa” (2016)

“Washa” is apparently the first South African song by a DJ to reach a million YouTube views. It’s not hard to understand why. The track is extremely catchy and easy on the ear. It’s another Ambitious Ent spaz fest – with a solid hook from Emtee, and equally solid verses from Fifi Cooper and the Benchmarq duo. Whether you are looking to dab, or to compare verses, “Washa” gotchu.

Cashtime Fam “Stundee (Shut It Down)” (2012)

It feels like yesterday that Smashis and Kid X were dropping punchlines on The Full Clip show on YFM. “Stundee” was one of the tracks the label used to introduce them, alongside K.O, Ntukza and Ma-E. Both dropped stellar verses. Also, it was on this track where you could see that K.O was slowly morphing into a lyrical heavyweight. The song became an anthem thanks to the popular slang word “stundee” (short for “standard”) which it somehow made popular.

Reason, Mothipa “F U 1 2” (2010)

In 2010, before AKA and Reason became superstars, they were featured alongside fellow underground wordsmiths – Ill Skillz (Uno July and Jimmy Flexx) and Hyphen, in what is one of the most potent posse cuts in South Africa. It was that kind of track where your stature was futile, only your skills mattered. Reason and Jimmy Flexx’s laidback flows, Uno July and Hyphen’s twanging yelps, AKA’s unmatchable vocal projection, Mothipa’s intimidating delivery, all combined over producer pH’s cipher-ready instrumental to rip shit apart. Because they wanted to.

Optical Illusion featuring Reason, X-Rate, Mothipa, Landmarq “Watch What You Say” remix (2013)

Though released in 2013, “Watch What You Say” smelled like the mid-2000s. Optical Illusion, a group which was popular then, didn’t try to fit in with the new school. The producer Battlekat’s uncompromisingly boom-bap production gave the perfect backdrop for like-minded backpack emcees — Reason, X-Rate, Mothipa, Reason, Landmarq — to lay their punchline-heavy scripts, inducing a nostalgia for old school hip-hop acolytes.

Driemanskap featuring Macho and Kanyi “S’phum’eGugs” (2009)

Everything about “Sphum’eGugs” is fitting for a track about the Cape Town ‘hood, Gugulethu — where all rappers on the song are from. From the eardrum-wrecking beat by Planet Earth, to the street-centric Xhosa verses from the Driemanskap quartet and Kanyi, to the lively video that takes you on a tour of Gugs. Macho’s English verse doesn’t sound out of place either. “S’phum’eGugs” is Driemanskap’s most memorable song, because all six rappers featured brought it — you can feel the sweat through your headphones. And that Kanyi verse. Oh man!

Holding image of Ambitious Ent crew, by Sabelo Mkhabela

What is  your favourite posse track from the last 10 years? Let us know in the comments section, or on Facebook and Twitter.

The post Here are the dopest South African posse tracks from the last 10 years appeared first on Live Mag.

Our list of the most influential women in local rap history includes many impressive names: Like Yo Girls, the first ever all-female South African rap crew who performed in the ’80s, to the new crop of rappers, like Fifi Cooper, Kanyi, Gigi Lamayne and more. These rappers are ensuring women’s presence in hip-hop is felt and influencing more to pick up the mic. 

Kanyi

Image: Onele Liwani

Kanyi is one of the most prominent South African lyricists. Her guest verses alone put her in a league of her own. Her solo stuff is not just about dope bars – though she has plenty of those – but conceptual tracks with subject matter that straddles social commentary and abstract spirituality. She has a critically acclaimed album, Iintombi Zifikile. Kanyi is one of the key names in spaza – a hip-hop subgenre that originates in the black townships of Cape Town. Kanyi has performed in festivals in Sweden, Zambia, Zimbabwe and is currently working on a project due for release before the end of the year. We interviewed her earlier this year about the first single to the project here.

Gigi Lamayne

Image: Sabelo Mkhabela

Gigi Lamayne is one of the most visible women who rap. Apart from being able to rap spheres around your favourite, she has made major moves within a short space of time by collaborating with heavyweights like Khuli Chana, Tumi Molekane and AKA. Gigi, who is signed to Dreamteam, alongside Khuli Chana, iFani and Magesh just to mention a few, won Best Female in 2012 and 2013 at the South African Hip Hop Awards. Gigi is relentless on the mic and not one to censor herself. She is one of the few artists who spoke up during Fees Must Fall, having been a Wits student at the time. She released a burning song “Fees Will Fall”. American website Afropop Worldwide, called her “a voice of change”. Gigi has two solid mixtapes under her belt and is gearing up to release her debut album.  

Fifi Cooper

Image: Sabelo Mkhabela

Fifi is known as The First Lady of Motswako, joining an already star-studded roster featuring HHP, Khuli Chana and Cassper Nyovest. She is signed to Ambitious Ent, the same label as Emtee. The rhyme spitter can also sing well, and appears on Emtee’s album, Avery. She is one of the fastest rising hip-hop stars, with three SAMAs under her belt in just about three years in the industry – she took Best Newcomer, Best Produced Album and Best Female Album. Last year, she was handpicked by AKA to appear on the remix to his “The Baddest” hit, alongside Moozlie, Rouge, Nadia Nakai and Gigi Lamayne.  

Godessa

Burni Aman, EJ Von Lyrik and Shameema Williams released their first single, “Social Ills” – still hailed a classic – in 2002. For a long time they were the only all-female hip-hop crew in South Africa. They released their debut album in 2006 titled Spillage – another near-flawless body of work. The trio managed to make socially conscious music that was neither preachy nor bland, by rapping over beats that were influenced by soul and funk. “Mindz Ablaze” is still a guaranteed party starter. Even though they haven’t performed together in years, two members are still active artists. EJ Von Lyrik, who released her debut album Method In The Madness in 2007, has been touring Europe, and got a compliment from the revered American hip-hop group Public Enemy’s Chuck D as “one of the top MCs on the planet”. She also performed with Prophets of the City at last year’s Cape Town International Jazz Festival. Burni Aman, who’s now based in Switzerland, released an album in 2014 called Sweet Science.  

Yo Girls

Yo Girls was the first all-female rap group in South Africa. With eight members, the Cape Town crew was established in the mid-’80s, and ran through the early ’90s. Yo Girls never got to record any music, but they did pave the way for more women in the genre, through performing at The Base – a popular Cape Town club where rappers, like Prophets Of The City, used to perform in, the ‘80s. According to former group member Malikah Daniels the rest of the members are no longer involved in hip-hop. Malikah remains the only one as she is the booking agent for DJ Ready D, to whom she’s also married.

Ms Supa

Image courtesy of artist.

In 2005, Ms Supa was the first woman to be on South Africa’s only print hip-hop publication, Hype. She appeared on HHP’s 2009 album Dumela and has worked with Skye Wanda, Qba, PDotO, Blaklez among others. In 2007, her single “10111” was a long-serving number one on T’bo Touch’s Metro FM hip-hop show Rhyme and Reason. Ms Supa’s deep voice, clear delivery and expressive lyrics make her a charismatic rapper, and the fact that she’s also a dope singer, makes a well-rounded artist. Her music is versatile, it mixes both old and new school elements. Peep her brilliant HerStory In The Making EP as you wait for her long-promised album.  

Miss Nthabi

Image courtesy of artist

For a very long time, Miss Nthabi was one of the few names that popped up when one thought of women in South African rap music. In the mid-2000s, she was making multiple appearances on Hype Magazine’s then-popular mixtape series, Hype Sessions. On “Breathe”, a track she did with the rapper Reason, she displayed lyrical skill and technical adeptness many rappers could only dream of. In 2006, she released From The Streets To The Lab, an EP that’s considered a South African hip-hop classic. Miss Nthabi has collaborated with Battlekat, Lebo Mashile, MXO and Maleh, among others. The rapper still remains as lyrical as she was in the mid-2000s. Her debut album, 2011’s Welcome To Me, is a smooth listen boasting production from respected South African producers, DJ Kenzhero, Helio, Battlekat, Ootz to name a few.

Protista

Protista has been on the grind. Her music is strictly boom bap, and she spits well-thought out sixteens with a heavy 90s influence. Protista may not be playlisted on Metro FM, but that doesn’t take away from her contribution to South African hip-hop. Her music is tailored for a niche market which she serves well, with dope performances at hip-hop-specific events like Back To The City, End Of The Weak and The SoCo Show. She is one of the few women who battle rap in South Africa, and she’s good at it. Check her out obliterating Durban rapper Lex LaFoy in this 2012 battle organised by South Africa’s most respected battle league, Scrambles For Money, below.

Yugen Blakrok

Image courtesy of artist.

Yugen Blakrok has performed at Oppikoppi and other festivals in countries like Czech Republic, Germany, France and Sweden. The rapper is signed to Iapetus Records – the same label as Tha Hymphatic Thabs and Fifi (not Cooper). Her lyrics are dense and tailored for the attentive listener, and they sit well over the producer Kanif’s ominous production. Yugen is one of those few hip-hop artists who have managed to be successful without compromising their music. Her debut album Return Of The Astro-Goth is a challenging listen that takes multiple listens to grasp. Yugen is one of the few women who do what many deem dungeon rap – abstract lyrical content, and songs that aren’t dependent on melodic hooks and candy production.

Qba

Qba has a steady flow, a swaggering drawl, and raps with ease. She has a versatile lyrical content. She can tell you how unfuckwithable she is, and tell you what it’s like growing up in the gutter, for instance on the song, “Iron Village”. Qba, who is also a model, is fashionable but lets her bars do the talking. She paid her dues with mixtapes like The Gutter Butter Vol. 1 and 2, both hosted by DJ Zakes. The rapper used to perform in sessions like the Splash Jam in Jozi, and has performed at Back To The City, among other events. She might not be on your radio or TV, but in the mid-2000s, alongside the likes of Nthabi and Godessa, she was one of the few rappers who were ensuring women’s involvement in South African hip-hop wasn’t just on music videos and behind the scenes.

Who else do  you think should have made the list? Let us know in the comments section below or on Facebook and Twitter.

The post 10 notable South African female rappers of all time appeared first on Live Mag.

Mashayabhuqe KaMamba says Busi Mhlongo helped him build his subgenre digital maskandi. Youngsta is inspired by Queen Latifah to rep his city hard. More hot young male musicians like Kimosabe, DJ Fosta, TiMO ODV share the female artists who inspire them below.

Kimosabe on Alicia Keys

(Interviewed by Sabelo Mkhabela)

Alicia is a musician. See, she embraces the very essence of music. I mean you saw what she did at this year’s BET Awards, right? And she’s quite soft-spoken, which is a trait I admire, because I too prefer to let the music do the talking. I see a lot of her in myself. She’s focused.

Favourite albums: The Diary of Alicia Keys, Songs in A Minor and As I Am. All of which I own.

Favourite songs: “Unthinkable”, “In Common”, “Fallin’”, “If I Ain’t Got You”, the list goes on. These are my favourites because of the soul and the instruments – you’ve got to have instruments.

TiMO ODV on Adele

(Interviewed by Sabelo Mkhabela)

Apart from having one of the most amazing voices in the world and an abundance of talent, I’d have to say it’s because she doesn’t care what the rest of the world is doing. What the trends are or what might be expected of her. Instead she does what she loves and what she does best, [which is] writing and performing amazing songs.

Favourite song: “Rumour Has It” from her album 21

RELATED: 10 notable South African female rappers of all time

DJ Fosta on Zonke Dikana

(interviewed by Buhle Lindwa)

I must say I’m inspired by Zonke Dikana, especially her debut album Life, Love and Music. I remember the first time I listened to that album, I was travelling to perform in the UK. It was a 12-hour flight, and I spent half of the 12 hours listening to it. Each and every song had a special message for me. And it was like I was saying the words she had sang about. Even today when I wake up, I still have to play at least one song from that album.

Favourite song: “Jik’Izinto”. That’s my killer song, because I personally believe that with my music, my purpose in life is to turn things around.

Listen to a mix DJ Fosta did for us via Red Bull Amaphiko, here.

Mashayabhuqe KaMamba on Busi Mhlongo and Thandiswa Mazwai

(Interviewed by Andisiwe Ntoni)

That’s kinda tricky, but Mam’ Busi Mhlongo is one of them. Her work helped me build digital maskandi. But Thandiswa Mazwai keeps giving me life. To think that I have a song with her makes my life special. She’s powerful spiritually and you’ll never understand that feeling if you don’t have culture.

Favourite Busi Mhlongo album: Urban Zulu

Favourite Thandiswa Mazwai album: She’s smart and her best work for me is Ibhokwe. I actually love every song in that album.

Favourite song by Busi Mhlongo: “Wakrazulwa” from Amakholwa (The Believers) album made me cry when I first heard it.

Favourite song by Thandiswa Mazwai: Like really loving every track of hers. I used to think “Thongo Lam’” was written for me while still in high school.

Read our 2014 interview with Mashayabhuqe KaMamba, here.

Youngsta on Queen Latifah

(Interviewed by Muneeba Davids)

Aside from being a hip-hop pioneer, she was one of the first few female rappers to get respect from her male competitors. She’s also a very successful business woman and actress.

Favourite album: Black Reign, I think this album was a perfect blend of hip hop and soul. The topics relate to men and women alike, and she is proudly representing where she was from. The album was released in 1993, but you would never say, judging by the production. It’s one of my all time favourite albums.

Favourite song: “Jersey” (which is not on Black Reign). She expresses her love from her hometown so passionately, saying she can’t forget New Jersey and for me being from Cape Town and always giving props to the city, it was inspiring to hear someone so influential do the same about where they’re from. It lets me know I’m on the right path with my music.

Read our list of Youngsta’s best guest verses here

Image of Thandiswa Mazwai by Matthew Zients

Who is your favourite female musician of all time?

The post 5 male musicians on the female artists who inspire them appeared first on Live Mag.

This weekend (1 – 4 September), the Red Bull Music Academy Weekender Johannesburg will bring a diverse line-up of artists, to different parts of Jozi. The Bassline, And Club, Kitcheners, Carfax, Great Dane, 1 Fox Newtown and Zone 6 Soweto, will host a total of 60 artists. We understand it can be overwhelming to choose from such a big number of artists, so we recommend seven acts including Christian Tiger School, Moonchild Sanelly, Black Coffee, Sketchy Bongo and more.

Moonchild Sanelly

Image: courtesy of artist

Earlier this year the New York Times named her Joburg’s coolest resident. With her edgy dress sense and electric “blue mop” for a crown, it’s easy to see why. But if you’re in Joburg this week then you have to catch her on stage this Saturday and let her serenade you with hits like “Rabubi” and “Dance Like a Girl” from her album, Rabulapha. She should perform her recent material (like “Fox With That” and others). Moonchild’s music is a melting pot of influences from kwaito, to afro pop, to electro. It should be a spectacle seeing her perform live. She shared her favourite albums of all time with us, earlier this year, here.

Sketchy Bongo

Image: courtesy of artist

The hit single, “Back to the Beach” not only launched Shekhinah and Kyle Deutsch into the national spotlight, it also introduced some of us to their talented producer, Sketchy Bongo. As we’ve highlighted on our list of Sketchy Bongo-produced songs that aren’t “Back to the Beach”, this masked producer is far from a one-hit wonder. He is one of the most versatile producers in the country, and if you’re heading to the #RBMJozi , he’ll take to the stage with his ally, Durban hip-hop artist, Aewon Wolf, who’s another one to not sleep on. We listed Aewon Wolf as one of the artists to watch this year. And we weren’t wrong. 

Youngsta

Image: Sabelo Mkhabela

Cape Town rapper Youngsta has been dropping hot verses alongside some of your favourites, like Stilo Magolide, Reason, Tumi, Ill Skillz, Driemanskap and more, for a while. He’s finally getting his chance to shine. Be sure to check him out, especially if he is with his DJ, The Muffin Man, who can make beats live on stage, while the rapper freestyles. Youngsta’s one of the best hip-hop performers in South Africa; the clarity of his delivery will make sure you hear every word he spits, and his stage antics and presence are unmatchable. To get you warmed up, here are seven of his best guest verses. 

Mashayabhuqe KaMamba 

Image:: courtesy of artist

Mashayabhuqe KaMamba’s self-created genre, digital maskandi, has seen him rocking stages all over the country and even abroad. Since his emergence in 2014, the forward-thinking artist has been featured on reputable publications like The Fader, Okayafrica, the African Hip Hop Blog and The Guardian . Mashayabhuqe has collaborated with Okmalumkoolkat, Thandiswa Mazwai, Reason and more. His live performances bring out spirits, and he infects the audience with the Holy Ghost, just like his muse, the late Busi Mhlongo, who he told us, alongside other male musicians on the female artists who inspire them, how she helped him create digital maskandi. Mashayabhuqe will be setting the stage on fire at #RBMJozi on Friday night. We’ll be singing “Hallelujah to the gods,” all night.

AKA

Image: Lucky Mthabela

AKA’s live show is in a league of its own. He brings out a full band. But unlike most rappers who perform with live bands, the grit of his songs is not lost, so you’ll hear all the sinewy synthesizers as they are on records, only hearing them being played live gives them a new dimension you won’t get from an MP3 file. He’s already armed with an arsenal of hits, guaranteed to have you singing and rapping along. Earlier this year we looked at five possible reasons why AKA has stayed on top of the game since 2011.

Black Coffee

Image: courtesy of artist

Black Coffee is probably one of the most chilled artists we have in this country. For someone who has just won a BET Award for Best International African artist, rubbed shoulders with P Diddy and made a hot remix for Alicia Keys, the DJ has stayed very low key. But stayed focused on what is important, delivering dope house tunes. Black Coffee is an innovative performer, and one can expect anything on his set in Soweto. Do yourself a favour and check him out,  he’ll have you dancing again and again.

Christian Tiger School

Another innovative bunch, Christian Tiger School, an electronic and hip-hop production duo, bring something new for every show. They can spice their set with a guitarist or live drums as they did at Rocking The Daisies and the Cape Town International Jazz Festival. The duo’s psychedelic beats will tell you to chill out and dab at the same time. We can’t predict what they have in store for this weekend, but we can guarantee you’ll have a great time. Christian Tiger School’s set was among the best at this year’s Cape Town International Jazz Festival. 

What artists are you looking forward to at the #RBMA? Let us know in the comments section below, or on Facebook and Twitter.

The post #RBMAJozi: 7 acts you have to see at the Red Bull Music Academy weekender in Jozi appeared first on Live Mag.

Kimosabe’s hauntingly beautiful vocals are all over radio these days. Be it on DJ Clock’s latest dancefloor anthem “Wolves” or DJ Dimplez’s “Bet It All” alongside the rapper Maggz. Last year, the vocalist appeared on DJ Ganyani’s House Grooves 9 album on a song called “Heaven”.

However, Kimosabe’s not just a vocalist. He’s a producer, responsible for most notably iFani’s hit “Iingoma Ezimandi”. It’s been a long journey for the 23-year-old artist from Mt Ayliff in the Eastern Cape, who started as a rapper, called Sixfo, releasing his music online.

Hopeless on the Internet

Around 2012, I remember him as a weird character on my newsfeed, who posted hostile status updates about having a dream of being a musician in a country that doesn’t value the craft. He made equally hostile music – about killing people and throwing their bodies in the ocean, spending most of his time alone, and dealing with the pressures of growing up.

Sonically it was dark, too, with eerie guitar riffs and enhanced vocals that sounded like someone singing in an abyss of despair. He was releasing music frequently, but what set him apart from most up-and-coming rappers who were doing the same was his subject matter. While most were making customary egocentric music, Sixfo was exposing his vulnerabilities, with a set of melancholic songs which he would package into a free mixtape or EP.

He also put a lot of effort in the production, as he played all the keys and strings and mixed his own music. Even though he rapped, the magic was in his vocal abilities and production. The quality of his music got better with every release. Blowing up was always a matter of “when” than “if”. Especially after his work ethic had attracted collaborators like Smashis, F-Eezy, PDotO, Molly and a few others.

RELATED: The 5 young producers behind your favourite SA hip hop hits

Transitioning from a rapper to a singer

In 2014, he quit rapping for singing and producing. “Basically, I was getting a lot of flack for rapping in English at the time,” he says to me via email. “But then again it was a different time [when rapping in vernacular was popular]. Fortunately, I could hold a note and I guess my unique singing style was something people wanted to hear more of. I don’t know. But as a singer and songwriter, things have definitely started looking up.” That was when Kimosabe teamed up with DJ Voodoo as the dance music duo PromKnights.

Wowing DJ Clock and DJ Dimplez

DJ Clock was impressed with PromKnights when they played him songs from their upcoming album in their studio. “The next day,” says Kimosabe, “he sent us some beats to write on and then ‘Wolves’ came about. Sent it to him and he was like, ‘Yo, this is gonna be the first single.’” After the success of “Wolves”, the duo got to perform at Ultra Festival in 2016 in Joburg.

It was almost the same thing with DJ Dimplez for “Bet It All”, which Kimosabe produced and sang the hook for. “So I meet him in the club, right,” says the singer. “And he tells me he’s working on some new stuff and I should send him some stuff. Following day, I made the beat and sang the hook on it, too.” Kimosabe says it was just a reference for whoever DJ Dimplez was going to choose to sing on the song. “He calls me like 30 minutes after I sent the beat and he’s like, ‘This gonna be the first single.’”

RELATED: Behind the beat: Tweezy on producing some of AKA’s biggest hits

Kimosabe is currently working on the PromKnights album and doing some songwriting for other artists. He plans to release an EP by the end of the year. But he’s busy working on more collaborations with Tweezy, DJ Radix, Mac G and a few more. “It’s gonna be a good year,” he says.

The optimism reflects on his recent tweets and Facebook posts. These days when he’s not retweeting praises from fans, he’s announcing the moves he’s making, like working on a single with the rapper PDotO, or being awed by being recognised from TV by a stranger.

Follow Kimosabe on Twitter, Facebook and SoundCloud, and check out a playlist of some of his best tracks.

Photography by Thato Matseke

The post How Kimosabe went from being a hostile rapper to a flourishing singer and producer appeared first on Live Mag.

Even though he had been reduced to just a face on a meme for “bad English” and hadn’t released music that resonated since the mid-2000s, Mandoza was an important figure in South African culture. We all know how “Nkalakatha” became a song loved by all races, playing in both the hood and rugby matches.

The song won Song Of The Year at the 2001 SAMAs, while the album of the same title won Album Of The Year. He also swept the Metro FM awards in the same year – winning five of the 10 awards he was nominated for. He was that big a deal.

Been listening to Mandoza since I was 8

I was eight when Mandoza first stepped onto the kwaito scene IN 1999. I lived and breathed kwaito. His song “Uzoy’thola Kanjani?” became an instant favorite, because it was everywhere, and was a great tune. The phrase “Uzoy’thola kanjan’ uhlel’ ekhoneni?”, which loosely translates to “get off your ass and hustle”, is an urban idiom that’s still being used to this day.

Mandoza’s husky voice made him unique. He had charisma, which was important in kwaito – a genre built around kasi bravado. Gabi Le Roux and D-Rex’s rock-influenced production set Mandoza’s music apart. Those electric guitars gelled well with his voice on such hits as “Nkalakatha”, “Godoba” and “Tornado”. Later in his career, Mandoza also worked with conventional kwaito producers like Mdu, DJ Cleo, Spikiri and Guffy.

RELATED: In memory of Flabba

Mandoza was the epitome of confidence

The artist, whose real name was Mduduzi Tshabalala, had a working formula – in each and every album he was telling us that he was that dude. These came in a variance of titles: Nkalakatha, Godoba, Tornado, Sgelekeqe, Ngalabesi, Ingwenya, Sgantsontso. Some shrewdly considered that a lack of creativity. But it sustained MDZ for years.

He was the epitome of confidence – from his lyrics to his fashion sense. He kept it kasi, but with an urban touch – rocking skinny jeans before the cool kids even imagined they would.

When he wasn’t flaunting his confidence and sneering at his competition, Mandoza was motivating and repping ikasi – with songs like “Respect”, “Hope”, “Angikhohlwa Lang’phuma Khona”, “The Lost Ones” (with Danny K), “50 50” (with Mdu), “Flame Of Life” (with Lebo Mathosa), among lots of others.

Who can forget his Chiskop hits?

MDZ also had a great run with his crew Chiskop. Songs like “Umunt’omnyama”, “Abasazi” and “Sunday” are undebated kwaito classics.

Mandoza had a flourishing career for years. But like many who had come before him, the tabloids started haunting him – he started making more headlines for his personal woes, such as bankruptcy, than hits.

Through all that, MDZ never stopped making music, dropping an album almost every year.
Even though, he was not owning Decembers after 2004 – a year in which he released two albums – Sgelekeqe and his collaboration with Danny K Same Difference.

Social media reduced this legend to a meme

In the mid-2000s, as house and hip-hop became the genres of choice for South African youth, things started changing for all kwaito artists. Even Mandoza couldn’t survive that era.

The popularity kept on declining, until eventually his albums made no noise at all. Albums like 2007’s Champion, 2008’s Ingwenya, 2010’s Real Deal, 2011’s So Fresh and 2013’s Sgantsontso are as good as non-existent as they produced no hit single.

The former star became a tabloid hotspot for his financial crisis and later his unstable health. Social media reduced him to a meme. But there’s one thing you can’t take away from Mandoza – he’s a stone-cold legend with one of the best songs to ever come out of South Africa across all genres “Nkalakatha”.

Watch Mandoza’s last performance below at the SABC’s Thank You concert which took place two weeks ago at FNB Stadium.

South African personalities responded to Mandoza’s death on Twitter:

Damn man!!! Mandoza left us??? Argh no man!!! This life thing is sooo short. #RIP to the legend!!!

— FillUpOrlandoStadium (@CassperNyovest) 18 September 2016

I woke up today in disbelief about Mandoza’s passing. It’s a lil surreal to me

— (@TweezyZA) 19 September 2016

Mandoza showed us the rainbow nation without political cliche or rhetoric. He united us through music #RIPMandoza

— Danny K (@dannykmusic) 18 September 2016

Thank you for the inspiration Mduduzi my brother. Lala ngoxolo Bab Shabalala. ~ @djsbu #RIPMandoza #DJSbuBreakfast pic.twitter.com/Cn9pmnWokI

— #DJSbuBreakfast (@DJSbuBreakfast) 18 September 2016

The post In memory of Mandoza, one of the most confident kwaito artists of all time appeared first on Live Mag.

We asked young people around Braamfontein if they knew their clan names, and very few did. “I’m not traditional,” one said. We also got musician Mashayabhuqe KaMamba, whose music is modern but has deep traditional roots, to break down the importance of clan names.

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The post Mashayabhuqe KaMamba talks us through the importance of clan names appeared first on Live Mag.

For years, African artists have been included in “African Music”categories in award shows around the world, but after 2009 there was finally an African MTV award show that artists could be featured on for more than one collective category. Awarding African musicians on home ground makes the most sense, but when it comes to implementation, the MTV Africa Music Awards miss the mark every year, and 2016 was no exception.

The headline artist was American

Future may be one of the most well known trap artists of 2016, but what sense does it make for him to headline an African music award show? The announcement of Future’s performance, unlike other African performers, was presented to the public on the MAMAs website as a stand-alone artist, while his fellow performers were all photographed and promoted together. This follows artists such as Eve, Miguel, French Montana and Trey Songz gracing the stage in preceding years.

Don’t be left out, this year’s #MAMAHeadliner is @future. He’s gonna be LIVE in Africa!!!#FUTUREMTVMAMA @mtvbaseafrica pic.twitter.com/7HVcwOVV6V

— MTN Nigeria (@MTNNG) 1 October 2016

What’s up with the non-African hosts?

Since the awards began, Trevor Nelson (UK), Wyclef Jean (USA/ Haiti), Eve (USA) , Marlon Wayans (USA), and Anthony Anderson (USA) have hosted the award show respectively. Trevor Noah was scheduled to host this year’s event, but was later replaced by the trio of Yemi Alade, Nomzamo Mbatha, and Bonang Matheba. Even though Trevor Noah has international appeal, his appointment as the host of the MAMAs would have made him the first African presenter of the awards in their history.

… And the recycled hosts?

South Africa loves, or loves to hate, Bonang Matheba. Her skills as a presenter are not questioned. It’s the fact that we see the same faces in entertainment that is the issue. South Africa has seen Queen B present everything from Top Billing to Revlon. She has earned her place as a top presenter, but why is she presenting everything when there are clearly other presenters who can do the job? Post announcement, the conversation about the same faces being recycled in the entertainment industry was re-opened via the #OpenTheIndustry hashtag.

As millennial’s better fight for equality and fairness if we want to see this nation moving forward. Invest in new talent & #OpenTheIndustry

— brighten (@u_bhekani) 21 October 2016

#OpenTheIndustry i feel sorry for all media studies,performing art & drama graduates the industry always shows you the middle finger

— MOREKI (@PRmudau23) 21 October 2016

They are hosted in a select few countries

The MAMAs have only been held in Kenya, Nigeria and South Africa (three times) since their inception. It seems very limited in terms of where they have taken place. One would almost expect a more representative spread of host cities, right? Ghana, Uganda, Angola and Senegal being examples of countries that have the infrastructure to host an event of this magnitude.

Why don’t Swahili or Arabic get their own categories?

Coupled with the fact that we see the same countries’ artists winning awards, Nigeria and South Africa to name two, the separation of language is questionable with regards to Africa’s colonial history. For one, the Best Pop Alternative category, only had South African nominees in it. The Best Lusophone and Best Francophone categories separate art on the basis of its language of production. If the decision is made by gauging the reach of languages, then why don’t Swahili or Arabic get their own categories?

Why is ethnic music ignored?

The MAMAs are intended for African music overall. The fact that Afro jazz maestro Hugh Masekela won a Music Legend award proves that the awards are meant to recognise all genres of African music. Where are the categories for music like al-Jeel (Arabic), Benga (Kenya), and Azonto (Ghana) which are all ethnic? As such it’s unfortunate, and rather inexcusable, that there is no category for any traditional African genre. In a time when we are exploring the importance afrobeats holds for Africans ignoring indigenous African music seems remiss.

The MTV Africa Music Awards are an amazing platform for Africa to celebrate its entertainment industry, game changers and hit makers. All we ask is that they fully represent Africa, not just the Africa that’s traditionally palatable.

Peep the full list of winners here.

Written by Misa Narrates and Mayuyuka Kaunda

*An earlier version of this article wrongly stated that the MTV Africa Awards were the first African music award show. We meant the first African award show by MTV. The error has since been corrected. 

The post This is why the MTV Africa Music Awards are pap appeared first on Live Mag.

You’ve heard the the tag – the “Ambitious” whisper at the beginning of your favourite SA trap songs. Ambitiouz Ent is undebatably the best hip-hop stable in South Africa currently. It’s home to Emtee, Fifi Cooper, A-Reece, B3nchmarQ, DJ Citi Lyts, Miss Pru DJ and Saudi and their latest signee, Amanda Black. The label has been releasing massive hits, like “Roll Up”, “Vura”, “Washa”, “Bonang”, for the past two years. Emtee and Fifi Cooper also have SAMAs and Metro FM Awards under their belts. We bring you, in no particular order, our favourite hits from the stable:

DJ Citi Lyts ft. Sjava and Saudi “Vura”

This is the latest hit from the Ambitiouz crew. It’s probably one of the best songs to come out of the label and one of the biggest songs in South Africa this year. The production – a simplistic slow burner with a prominent bassline – isn’t the only thing that makes “Vura” dope. The vocalist, Sjava, fuses some mbaqanga swag with new school freshness, emphasising his syllables, making you wish you had a Vura with “umtwana o-yellow on the passenger seat,” as the chorus goes.

Saudi ft. A-Reece “There She Go”

The bassline thumps hard. The beat alone teleports you to a dimly-lit nightclub with a low-hanging cloud of smoke. Which is what the song’s video depicts. “There She Go” is a tad disrespectful – it’s two teenage boys rapping foul about a teenage girl who’s “wherever the weed is”. “Mawungam’bona let me know, I need my ganja from her/ Owethu sonke, that’s one thing about her,” sings Saudi. But then again, hip-hop and misogyny go way back. “There She Go” is catchy and is quintessential trap from the production to the lazy enhanced singing style that Saudi deploys.

DJ Citi Lyts (ft. Fifi Cooper, Emtee & B3nchMarQ) “Washa”

“Washa” is apparently the first South African hip-hop song by a deejay to reach a million YouTube views. “Washa”, just like most Ambitiouz songs, is nothing innovative. But the catchiness of the hook and the beat will have even purists bobbing their heads, if dabbing is too much. All Ambitiouz Ent signees at the time (Emtee, Fifi Cooper and the B3nchmarQ duo) contributed a verse each. Emtee also provided another one of his melodic hooks. For a posse track, “Washa” doesn’t offer much lyrically, but then that’s not what this stable is about.

Miss Pru (ft. Emtee, Fifi Cooper, B3nchMarQ, Sjava & Saudi) “Ameni”

I’m sure I’m not the only one who doesn’t get what Sjava is saying on the hook – but that doesn’t take away from the grandeur of “Ameni”. The kick is solid and it pulsates alongside a droning bassline. A selection of synths complete the beat, which plays the perfect backdrop for the ever-growing Ambitiouz Ent roster to display their singing and rapping skills. I once saw this song being performed live, it became a mini cypher. The less said about the last verse the better; “The SAMA is mine, you can call me Zahara/ Like na, nigga don’t call me Zahara” Huh? So should we call you Zahara or not? Track still bangs, though.

RELATED: Here are the dopest South African posse tracks from the last 10 years

Fifi Cooper “Monate C”

“Monate C” was one of the songs that showed that The First Lady of Motswako, as Fifi Cooper is called, could rap. You don’t have to understand Setswana to catch the holy ghost on this track. Fifi’s flow is captivating and straight up solid. The beat, with a big bassline, compliments her well. For a label mostly known for trap, “Monate C” is the most rappity rap Ambitiouz Ent has ever gone.

B3nchMarQ ft. Tweezy “Get Lit”

“Bonang” may be B3nchMarQ’s most successful hit, and it was dope, but we feel “Get Lit” was nicer. The bassline alone deserves its own write-up, Tweezy just has a way with those. His Young Thug-esque hook game is also on point. The beat to “Get Lit” is simplistic and the duo meet it halfway with swag-dripping flows. “Get Lit” is nothing short of lit.

A-Reece ft. Emtee “Couldn’t”

19-year-old A-Reece is the most lyrical rapper from the label. “Couldn’t” was his first song under Ambitiouz. And he was out for the kill. With lines like “Some of y’all are rapping like you still got something to prove, I got over that so you know/ I don’t like rappers who say they got next when they been in the game for like 10 years or so”, the young rapper wasn’t out to play games. Emtee’s hook earned the song a spot on radio and TV playlists, and A-Reece had officially arrived. His album Paradise, which just came out, is also money. 

Sjava “Ekseni”

Sjava is that dude. Alongside Mashayabhuqe KaMamba, who makes digital maskandi, Sjava managed to strike the balance between vintage mbaqanga and popular music. “Ekseni” is a trite love song but it’s still special because of the way the man sings. He doesn’t try at all, but walks over that bass with the swagger of David Masondo (from The Soul Brothers). His album Isina Muva is one of the best albums you might not have heard this year. Don’t sleep.

RELATED: 10 notable South African female rappers of all time

Fifi Cooper ft. Emtee “Kuze Kuse”

Emtee can’t do no wrong, vocally. “Kuze Kuse” is a party starter produced by Tweezy, one of the best trap producers in the country (AKA’s “Sim Dope”, L-Tido’s “Dlala Kayona”). The pads are breezy, the bass and 808s knock. The rhythm is catchy and “Kuze Kuse” is not sure if it’s hip-hop or pop, not that it matters. Fifi Cooper is her usual confident self, and you don’t have to understand what she’s saying to appreciate her. This is one of Emtee’s best hooks thus far. Read our profile of Tweezy here.

Emtee “Roll Up”

“Roll Up” was the label’s first major hit. It did a great job of introducing Emtee to music fans. It was catchy, and it was a shameless lift of O.T Genasis’ equally catchy “Coco”. But it still banged. You don’t have to admit you liked it, we know you did. Even though the song became a hit, many fans dismissed it as beginner’s luck, because it wasn’t a lyrical masterpiece. But Emtee went on to drop a scorching album, Avery. “Roll Up” got the attention of industry heavyweights – two of them being AKA and Nigeria’s Wizkid, who went on to drop verses on the remix.  Revisit our interview with Emtee here.

Image of Ambitiouz Ent at Swaziland’s Hipnotik Festival taken by Sabelo Mkhabela

What Ambitiouz Ent hit do you feel should have made our list? Let us know in the comments section, below or on Facebook and Twitter.

The post Ambitiouz Ent is running SA hip-hop, here’s a list of our favourite hits from the stable appeared first on Live Mag.

On their popular single, “Ngeny’ilanga”, which has about 34,000 YouTube views, the up-and-coming Cape Town afro soul duo Soul Kulture tell an emotive story of hope. On the video, they go from performing in the hood, to being discovered by a music executive who’s astounded by their talent. The song sums up Soul Kulture’s story. The Khayelitsha duo was known for busking on trains and taxi ranks. They are now nominated for Best Afro Group alongside The Soil at the second annual South African Afro Music Awards taking place December 11 at the Cape Town International Convention Centre. 

Afeletsi and Msekeli are day-ones

I meet up with the duo, which consists of Afeletsi Manamathela (19) and Msekeli Velaphi (21), at Site C taxi rank in Khayelitsha, where it all started. “We were given the name Igadi Yobomi by our producer then,” says Afeletsi. “But that changed and we named ourselves Soul Kulture,” adds Msekeli. “Soul” in their current name comes from how they give it their all when they perform. “Kulture” refers to music, which they say is part of who they are. Afeletsi says they were both inspired by the songs they grew up listening to by artists such as Ntando and Ringo Madlingozi.

RELATED: Nathi opens up about prison, fame and growing up in Mthatha

Afeletsi and Msekeli have been friends since when they were living in Dutywa in the Eastern Cape, where they both grew up. They moved to Khayelitsha, Cape Town to live with their parents in 2013. “We became interested in singing and started busking,” says Afeletsi.

In 2014 while still studying, the two friends continued making music. People loved them, they became popular around Cape Town. They started getting bookings for shows, which was great for exposure, but not for the bank. “This other guy just said, ‘Thanks for coming and performing at my event,’ and gave us a R50 for transport,” Afeletsi recalls with a chuckle.

Getting discovered and flying to Jozi

Performing at the taxi rank wasn’t always applause and change. Some taxi drivers would chase them away, complaining they were making noise. Their voices and guitar also had to compete with loud music played by taxi drivers at the rank, as they had no mics.

In November last year, while performing at the rank, they were spotted by a guy called Lionel Jamela who became their manager. In January 2016, they flew to Jozi to record “Ngeliny’ilanga”.

Soul Kulture recently performed at Moretele Park Tribute Concert in Mamelodi, Tshwane alongside such greats as Hugh Masekela, Don Laka, Letta Mbulu, Mafikizolo, Zonke, Nathi, Vusi Nova, Emtee and Cassper Nyovest. “We walked to the stage, and the crowd was quiet,” says Afeletsi. When the MC introduced us people weren’t that excited. But as soon as we started singing ‘Ngeliny’ ilanga’ the whole crowd started screaming. I was shocked. But I told myself to stay calm and continue singing.”

Afeletsi and Msekeli are still normal kids, doing Grade 11 at Usasazo High School in Khayelitsha. Their music hasn’t interfered with their education. “At school we do well,” says Msekeli with a chuckle, “other than being called celebrities recently by our peers. But we don’t see ourselves as such yet, we still trying to get there.”

Watch a video of Soul Kulture performing “Ngeliny’ilanga” below:

Soul Kulture’s debut album Ngeliny’ilanga is out now. Keep up with them through their Facebook page.

Photography and videography by Onele Liwani

The post How this Cape Town afro soul duo went from performing on trains and taxi ranks to being promising stars appeared first on Live Mag.

Nasty C‘s debut album Bad Hair was released about a month ago. Two of our contributors debate whether it’s good or not. Mayuyuka Kaunda wasn’t impressed with the album. “I really didn’t get to know who Nasty C is as a person,” he says. “You go from intro to interlude, who the fuck does that?” Aseza Pupuma, on the other hand, thinks it’s an amazing body of work. “Tracks like ‘A Star is Born’ and ‘Forget’ are intimate,” she says. Watch them debate the album in the video below and let us know what you think.

RELATED: Nasty C talks awards, being let down by AKA and how Cassper saved the day

Video shot and edited by Lebogang Ntoele

The post This review of Nasty C’s “Bad Hair” album might upset you if you’re a fan appeared first on Live Mag.

Nowadays we call just about anyone a “Stan” for being obsessed with a particular artist. But how many of you remember that it came from Eminem’s song by the same name? In the same way, there are certain South African slang words that have wormed their way into everyday use that would probably not exist, in that context, had it not been for hip-hop artists. Here are a few:

Riky Rick and “the whole design”

“The whole design” or “the whole time” is a phrase we first heard from one-third of the legendary kwaito trio TKZee. Magesh, aka Tokollo, first rhythmically brought the catchy description to our attention in the song “Khala Kahle” off his 2007 album Longest Time. The term has been kept alive by Riky Rick. It’s littered all over the tracks he graces including “Summer Time” by Da L.E.S.

Riky Rick and “sidl’ukotini”

The first time he used the phrase was on his song “Fuseg”, featuring Cassper Nyovest and Anatii. Earlier this year it developed into an anthemic single. His music conveys his love for fashion, and now has an army of fans who say, “Sidl’ukotini,” when they’re kitted out.

BoyznBucks and “umswenko”  

On to the collective Riky belongs to, BoyznBucks. They rarely get credit for their effect on the culture. From being on the frontline of trends such as coming up with their own Racing Apparel clothing line to creating a craze in the form of the Taxi Driver dance, they’ve also coined phrases such as “uMswenkofontein” and “Swenk korobela”. “Umswenko” is not a new term, but BoyznBucks made it part of young people’s vocabulary again. 

Cassper Nyovest and “upper”

A BoyznBucks admirer and Okmalum’ collaborator on his breakout hit “Gusheshe”, Cassper Nyovest showed us his appreciation of the trendsetters with his version of the Taxi Driver dance in the “Phumakim” video. He popularised the phrase “Upper Life”… or simply “Upper”. This statement is used to depict the levels he’s reached and the subsequent luxurious lifestyle he has come to lead. 

AKA and “unlocked” 

A visible element of AKA’s repertoire has become his trademark shoulder roll. His dancing has become a large factor in his live performances, but his vocabulary has also contributed to contemporary South African hip-hop jargon. Apart from calling himself Supa Mega, he also popularised the use of “unlocked” which we can hear on “Composure”.

Youngsta and “kaapstad naaier”

This brings us to arguably the most vocal Cape Town supporter in Youngsta. His track “Top Ten List” draws on the thematics of rap, too, and portrays him as a slasher, hell-bent on exacting revenge on the hip-hop game for overlooking him. Also audible is his trademark callout of “Kaapstad Naaier”, loudly repping his city whilst popularising the term widely among people who aren’t even familair with Cape Coloured slang.

Image of Cassper Nyovest by Onele Liwani

What other phrases that were made popular by a South African rapper did we leave out? Let us know in the comments section.

The post Popular slang words and the South African hip-hop artists who popularised them appeared first on Live Mag.

We recently took a walk around Cape Town CBD with electronic music duo, Stiff Pap. The group is made up of producer Mshindi AKA Jakinda (20) and rapper Ayema Probllem (20) who describe themselves as one of the most progressive new acts in the country. To switch things up a bit, we got hip-hop dancers from a crew called the Timelesstutts to dance to Stiff Pap’s new banger, “Dlala“.

Watch the video below:

Video, shot and edited by Lufuno Ramadwa

The post [Video] Electronic music duo Stiff Pap’s new single will have even hip-hop heads moving appeared first on Live Mag.

Would you say your favourite South African rappers are original? Well, after listening to A-Reece’s new album Paradise, two of our contributors found themselves asking the same question. Aseza Pupuma didn’t like it because “everything on the album sounded the same; ‘Couldn’t’ sounded like ‘Ama Hater’”.

While Mayuyuka Kaunda sees it this way: “If everyone is going for a formula; that trap sound, no matter which producer you use, you will end up using the same flows, choosing the same beat, and you will sound the same.” Watch them discuss this and reference other artists, such as Emtee, who they think lack originality. Let us know your thoughts in the comments section below.

RELATED: This review of Nasty C’s “Bad Hair” album might upset you if you’re a fan

Video shot by Andile Rada and edited by Mayuyuka Kaunda

The post [Video] This is why South African rappers sound the same appeared first on Live Mag.

2016 brought us melodic trap music, known as trapsoul (named after American singer Bryson Tiller’s album of the same name). South Africa, not to be left behind, has also produced a few trapsoul singers who are holding it down. Here a few you definitely need on your playlist this festive season:

Tellaman

Tellaman doesn’t dab, he does the Madiba dance. He’s mellow with the words like Paulo Coelho, as he declares on DJ Speedsta’s “Mayo”. This Durban-based singer has crooned alongside your favourite rappers like Kwesta, Okmalumkoolkat, Nasty C (try imagining Bad Hair without Tella). He released an impressive EP called Mind Vs Heart where he sings on mellow trap beats and dancefloor-ready house bangers. Can this guy blow up in 2017, please?

Download Mind Vs Heart here, and follow Tellaman on Twitter and Facebook

Refi Sings

Refi Sings is a singer and songwriter based in Durban. Her singing style has a dancehall influence and she also raps. On the rapper Chad Da Don’s “The Child that Survived”, she channels her inner Rihanna for a solid hook. She appeared on the rapper Priddy Ugly’s You Don’t Know Me Yet EP, flexing her dancehall skills. Not only is she dope, but she’s also working with producer Whichi 1080, one of the most exciting trap producers out now. What a time.

Follow Refi Sings on Twitter, Facebook and SoundCloud

Sjava

You might know Sjava from Ambitiouz Ent hits such as “Vura” and “Ameni”. His album Isina Muva is one of the greatest releases of the year. He combines trap with mbhaqanga. His love songs will make even the coldest hearts fall melt. It’s the personality in his voice and the way he drags his syllables that add to the swagger this guy possesses. Oh, and he can also rap really well.

Follow Sjava on Twitter and Facebook, and be sure to buy Isina Muva on iTunes.

RELATED: Ambitiouz Ent is running SA hip-hop, here’s a list of our favourite hits from the stable

Masandi

Masandi is signed to Cashtime Life, the indie label headed by the rapper K.O. He appeared on the rapper’s smash hit “One Time” from his 2014 gold-selling album Skhanda Republic. He also appeared on labelmate Ma-E’s Township Counsellor album. Masandi’s solo stuff is equally impressive. He adds a South African flavor to his music by mixing English with Zulu and Tsotsi Taal, and he sings without autotune. Dear Cashtime Life, can we get a full length Masandi album in 2017, please?

Follow Masandi on Facebook, Twitter and SoundCloud.

Shelton Forbez

Shelton Forbez is a familiar face to couch potatoes, he’s a Vuzu presenter. He also acts and dances. This year, he pulled out another trick off his sleeve when he released his single, “Smoke”. Produced by one of the most exciting producers right now, Whichi 1080, the beat bangs hard, with some airy synths that give the song a tranquil feel, especially mixed with his lightly autotuned vocals. His presenting and dancing are dope, but we hope to hear more singles, and eventually a full project. In 2017, maybe?

Follow Shelton Forbez on Twitter and Facebook.

Lastee

Durban’s Lastee is part of Select Play, the same label as Tellaman. His 10-track EP Radar is one to add to your collection. A notable guest on the project is Tumi Molekane (now called Stogie T) on the song “Illusions”. Lastee mixes English with Zulu, and sounds dope whether or not he uses autotune. Listen to the song “Erykah” from Radar to hear what I’m talking about. His biggest song to date is “Ring of Lies”, a collaboration with Durban rappers, Duncan and Ngane. He also appears on Stogie T’s latest album.

Follow Lastee on Twitter and Facebook.

KLY

KLY, who is based in Jozi, released his full-length EP Klymax a few months ago. The EP, which is one of the strongest releases of the year, features high-profile guests like Riky Rick, Priddy Ugly and DJ Buckz. The producer Whichi 1080’s eardrum-wrecking basslines and filtered synthesisers make for a perfect smoky environment for KLY’s vocals to creep through. His latest single, “Too Much”, featuring Riky Rick just got the visual treatment, and deservedly so.

Follow KLY on Twitter, Facebook and SoundCloud.

What other dope South African trapsoul singers do we need in our lives before the end of 2016? Let us know in the comments section, below.

The post 7 dope South African trapsoul singers you need in your life before the year ends appeared first on Live Mag.

2016 showed us flames, but musically it was one of the best. From Zaki Ibrahim’s experimental electronica EP Orbit: A Postcoital Prequel, to Priddy Ugly’s unique take on trap You Don’t Know Me Yet, to Jullian Gomes’s deep house masterpiece Late Dreamer, we bring you our favourite albums of the year. In no particular order.

1. Priddy Ugly – You Don’t Know Me Yet

True to the title of his mixtape-turned-album, little known Priddy Ugly, made waves with the spring release of You Don’t Know Me Yet. With the amazing Wichi 1080 on production, and boasting features like HHP, A-Reece, Refi Sings and Shane Eagle, Priddy Ugly introduced his unique take on trap in style. Nominated for the 2016 South African Hip Hop Awards for Mixtape of the Year, Priddy Ugly has only whet the appetite of the industry. With epic bass-heavy beats, blended with Priddy’s brilliant prose, YDKMY is the musical personification of the adage “say it with your chest”. – Misa Narrates

2. Zaki Ibrahim – Orbit: A Postcoital Prequel

Zaki Ibrahim has been away from the scene for about four years since the release of her 2012 album Every Opposite. She’s currently working on a comeback album, and to give us a taste, she released a 4-track EP called Orbit: A Postcoital Prequel. On the project, Zaki brings those natural smooth vocals she’s known for. The production is electronic, thanks to the producer Maramza, who’s responsible for the soundscape.

Staying true to her hip-hop roots, she samples Lord of the Undergrounds’s “Chief Rocka” classic, and drowns it in synthesizers on the opening track “One”. The second song is a trapsoul slow-burner, which is my favourite. The third is a dancefloor-ready EDM banger, while the closing track is sombre, where she sings over a moody instrumental that has no drums, sounding a bit like Alicia Keys. I can’t wait for the full album in 2017. – Sabelo Mkhabela

3. Frank Casino – Something from Me

Following the well-received release of DJ Speedsta’s hit single, “Mayo”, on which he’s featured, Frank Casino invites listeners into his personal space through his debut release Something From Me. The 16-track project is tight knit with songs that complement each other, songs such as “Pablo”, “Sauce” and “Whole Thing”. A notable feature on the project is the rapper Priddy Ugly, who appears on “Sauce”. Something From Me gives the listener details of Frank Casino’s aspirations, interests, and objectives in a precise manner. It’s rooted in Frank Casino’s experiences and communicates a compelling honesty. – Andile Rada

4. Jullian Gomes – Late Dreamer

Jullian Gomes is a South African deep house gem. His debut album, Late Dreamer is a mindful and heartfelt body of work, consisting of soothing beats that work for both a chillout and the club. Late Dreamer is made up of soulful, afro and deep house. It boasts smooth vocals from big names such as The Lazarusman, Ziyon, Kabomo, Bucie and Sio. If you love deep house, you’ll definitely enjoy Late Dreamer. It ticks all the boxes, the production is amazing, and so are the vocals. And it has replay value, so you will probably still be playing it this time next year and beyond. – Mandy Alexander

5. Kid Tini – Coming of Age

In a time when rappers are mimicking each other, comes Kid Tini. The 19-year-old rapper from Butterworth, Eastern Cape, released his debut mixtape Coming of Age earlier this year, and he instantly became my favourite rapper in Mzansi. Every track has everything that makes a great song. From the beats, to the lyrics – the punchlines are insane. This young kid knows how to use similes and metaphors. “They catch a handful of feelings ’cause we throw them in chunks/ I done sharpened up the raps but the lyrics is blunt/ See, they couldn’t top this if they was sharing a bunk,” he raps on the title track. Kid Tini knows how to tell a story, a skill I think many rappers lack. He is poised to do some great things in 2017. – Aseza Pupuma

6. Sjava – Isina Muva

2016 was a bad year because we are probably being punished for sleeping on such an amazing album. At 16 tracks, Isina Muva is long. But it’s all good. While a lot of people think Sjava is biting Mashayabhuqe KaMamba’s style, I think he’s authentic. Sjava is inspired more by mbhaqanga than maskandi, which Mashayabhuqe is overtly inspired by. Sjava sounds like what the Soul Brothers would if they made music in 2016 and sang over trap production. The lyrics aren’t that strong, they can be a bit of a cliché at times, but it’s the way he sings that makes him special. Ambitiouz Ent, the label he’s signed to, should do better in future and promote this guy as much as they promoted his label mate A-Reece’s Paradise album. – Sabelo Mkhabela
Stream Isina Muva on Apple Music or buy it on iTunes

RELATED: Ambitiouz Ent is running SA hip-hop, here’s a list of our favourite hits from the stable

7. Thandiswa Mazwai – Belede

First the keys, then the soft hum of Thandiswa Mazwai’s voice before we hear a #FeesMustFall protester lamenting, “From who must I run? Why are you brutalising me?” and then, goosebumps. This was my reaction as I listened to the first track on this jazz tribute album. She does justice to the track “Jikijela” which was first sung by Letta Mbulu. She almost pulls it into the future, connecting it to today’s struggle. Track after track, she continues to do this, with expert support from drummer Ayanda Sikade, pianist Nduduzo Makhathini and bassist Herbie Tsoaeli.
Normally I’m not a fan of tribute albums, but there’s something different about Belede. Maybe it’s because she has been away for seven years, or that even after all the protests, universities like Wits are still upping fees by 8%. Maybe it’s that it’s dedicated to her mom. I don’t know. But it works. After such a crappy year, Belede feels like the bandage South Africans, especially young black women need. To know that you’re not alone, that others have fought before you and Thandiswa herself came back, for you and others who may have been bruised by 2016. – Neo Maditla

8. Stogie T – Stogie T

Tumi is a changed man. Under the new moniker, Stogie T, his music is easier on the ear, compared to his earlier stuff. It’s because of the 808-based production he chose for the self-titled album, and the features he enlisted. The likes of Emtee, Yanga, Nadia Nakai, AKA all breathe freshness into the album. Tumi’s still the best lyricist in South Africa. In this album, he explores success, racism, and also touches on personal issues like his marriage and his relationship with his mother with impressive eloquence. He raps in his polished flows, and they sit comfortably over all the beats. I love every track, except “#FF” which features Nadia Nakia. Sorry, Tumi, but not even you can convince me Nadia can rap. – Sabelo Mkhabela

9. KLY – KLYMAX

KLY is the crooner the South African industry has been waiting for. He effortlessly fuses trap, soul and RnB to come up with a signature sound that reflects his Joburg surroundings. KLY explores several themes on this project, leading to an entertaining journey through upbeat peaks on “Soul Touch” and a slightly more ominous feel on “5AM In The East”. The 22-year-old also addresses unrequited love on one of the best RnB tracks of the year “Direction”. Not to be left out of your turn up playlist, the deluxe edition of KLYMAX features the standout track “Scrr Pull Up” and a collab with Riky Rick on “Too Much”. That co-sign is a great boost for the talented singer, songwriter and producer who promises a huge 2017. This Wichi 1080-helmed project is the perfect foundation for KLY to build upon while he flirts with intricate melodies and addresses subject matter that will hopefully “Keep Love Young”. – Mayuyuka Kaunda

10. Naye Ayla – Exi(s)t

Whether or not you know about Naye is irrelevant. Her EP, Exi(s)t, was brilliant. She’s a member of the Culture Cartel, a band based in Pretoria. Naye’s Exi(s)t dropped in November, featuring the likes of Una Rams, Youngsta CPT, and her own rendition of Nasty C’s “Juice Back”. Ayla’s eerily soothing vocals coupled with the lazy acid trip feel bring a far more sultry feel to 2016’s rhythm and blues scene. – Misa Narrates

What was your favourite album this year? Let us know in the comments section below.

The post The 10 best South African albums of 2016 appeared first on Live Mag.