The next great African rap battle may be upon us. In late June, Nigerian rap artist Blaqbonez took aim at colleague ODUMODUBLVCK on "Who's Really Rapping," a joint track with mentor A-Q, who has been in his fair share of rap beefs. Odumodu has fired off a litany of posts on X (formerly Twitter) and talked about it on podcasts, but it would take an official response for things to get interesting.

As far as hip-hop goes, fans love a spectacle, and passion is a potent selling tool. Where can there be greater delivery of passion than in diss tracks, rude and immediately beside you. At the chagrin of critics and less-than-pleased curators, diss tracks are peak moments for the culture, for fan bases, and consequently, a powerful PR tool.

From M.I Abaga and Vector to AKA and Cassper Nyovest, there's a solid history of rap beefs in African rap, and they've produced some truly memorable diss songs. Below are 10 essential diss tracks in that canon.

M.anifest – "godMC"

When years of sneak disses culminated in a lyrical sparring between two of Ghana's most revered rappers, it was everything the audience had expected. Rappers are known for talking the mean talk, and between Sarkodie and M.anifest, there has been a lot of that over the years, with their battle taking on even more importance considering they represent unique styles within the soundscape. On "godMC," M.anifest banks on the purist sensibilities that have won him the adulation of peers and listeners, pulling out a wide range of references as he sought to sink the Sark into hip-hop's hell. From Greek mythology to the Fela-invoking production, the rapper spared no punches as he cautioned the opposition "don't measure your pen to mine, you pantomime and asinine / And you wanna be king, get your ass in line."

Ruggedman – "Ehen"

Nigerian hip-hop has arguably never seen a rapper as magnetic as Ruggedman. At the start of the 2000s, he took gleeful swings at any and everybody, critiquing the establishment with the same vim he had for rappers. "Ehen" is undoubtedly his centerpiece as a troubadour, with Ruggedman wielding a flamethrower potent enough to torch anyone.

Dissing top English-speaking acts like Eedris Abdulkareem, Black Reverendz, and Rasqui for their lack of street material, he would set the precedent for a lingual and cultural conversation that would echo years later in "Local Rappers." Even at the time of its release, "Ehen" was remarkably impactful, succeeding as a commercial darling with its radio jingle-like harmony, a cadence that rings familiar to the average Nigerian on the street.

Cassper Nyovest – "Dust To Dust"

Going personal in diss records is one way to stun the opponent into submission, but even by that logic, "Dust To Dust" is a devastating record. Over five minutes of thumping bass and drums, Cassper Nyovest suggests several things about his chief rival, the now-departed AKA, with whom South Africa's biggest beef was shared. Its origin dates back to 2014, which would stretch and loosen back and forth for the next half-decade, resulting in a few jabs here and there. But AKA went direct with the phenomenal "Composure," and Cassper had to reply with equal ferocity and tact, which understandably led him down the personal route. "I'm writing this at the crib shooting free throws / You stayed in a town house that was owned by Oskido," raps Cassper on the third verse, audibly sounding agitated, breathing down the beat with a style that recalls the quintessential 2Pac flow.

M.I Abaga - “The Viper”

Intricacy has always been a defining quality in M.I's art. With his early projects in the 2000s, he redefined the scope of the Nigerian rap album, successfully blending pop runs with the sweet essence of rhyming. "The Viper," his diss record aimed at longtime competitor Vector, was as harrowing a cadaver inspection as it was an olive branch extended.

Swinging at the edges of mercy and punishment, he employs biblical allegory to dissect the history between himself and Vector, ranging from their handling of the BET cypher to what M.I. considers Vector's inability to "put anybody in position." It's a fine display of M.I.'s incredible arsenal as a rapper, from his production of the song to the social commentary he successfully incorporates in his scathing attack.

Vector – "The Purge" feat. Vader & Payper Corleone

On "The Purge," Vector assembled one of the most compact diss records that the Nigerian rap scene has witnessed. Tensions were stoking between his and M.I's camp, fuelled mainly by the rap cyphers that both veteran rappers steered. By the time of release, it was no secret that both rappers' cliques didn't like each other, and "The Purge" took things up a notch by standing on business (and crucially, on wax). Vader takes shots at Blaqbonez, Payper swings on everyone from Loose Kaynon to A-Q, and Vector expectedly goes for M.I. "Africa rapper number one my ass, boy the flavor left," he rapped, referencing the latter's 2010 hit song, while swinging other sharp personal jabs.

Modenine - "Elbow Room"

For many, Modenine represents the pinnacle of lyricism in Nigerian rap. At his peak, which was much of the 2000s, he often rapped with the cold force of an unsullied, his barrage of punchlines slicing through boom bap beats with the sharpness of Valyrian steel. That unsparing lyrical precision is the hallmark of "Elbow Room," a speculative diss that remains as scathing as it was nearly two decades ago.

Amidst industry rumors of a beef with Ruggedman, and whispers of an already recorded diss song that eventually didn't see the light of day, Modenine got preemptive with "Elbow Room," sonning his adversary before things got heated. From the first line where he threatens to run over foes, every line is unfurled with a focused fury. By the time he delivered the death knell with "Talking to You," it was a potent sequel to the unsparing tone set by "Elbow Room."

Sarkodie - “Kanta”

Sarkodie takes umbrage at any question that casts doubt on the credibility of his pen and his greatness as a rapper. Those things were at stake when M.anifest called him out on the thinly veiled, subliminal-packed "godMC." While the beef itself never really boiled over into a protracted back-and-forth, "Kanta" was Sarkodie's unfazed reply. Taking sonic cues from American rapper Desiigner's viral hit, "Panda," Sarkodie swings for the fences and hits a home run.

Sark's trademark rat-tat-tat, machine gun flow is the vehicle for barbed lines that simultaneously extol his greatness and dismiss M.anifest as credible competition. "Sark no go diss you for nothing/nigga, already you suffering," he quips in utter disgust. Sidestepping punchlines for heft, Sarkodie raps every line like he's trying to set off the Richter scale, going a cappella with some words of advice when the beat switches off. "Kanta" didn't necessarily hand M.anifest an L, considering cooler heads prevailed after, but it proved Sarkodie's bona fides at a time when his prominence made him an easy target.

Khaligraph Jones - "Best Rapper in Nigeria"

For Khaligraph Jones, being hostile on the mic is a way of life. Even on his groovier songs, the Kenyan rapper makes it a point of duty to be a hulking presence. That's why he relished the opportunity to go at Blaqbonez, immediately after the Nigerian rapper said Jones wasn't worthy of winning the award for Best Hip-Hop at the 2023 edition of the Soundcity Music Video Awards. Within a day of Blaq's statements, Jones declared himself the "Best Rapper in Nigeria," a reference to his foe's assertions of being Africa's best a few years prior.

Some of the best diss songs in rap history have a blatant level of toxic masculinity, and it felt like Jones had been waiting for a while to unleash some of that energy on an adversary. Over an ominous beat, Jones sounds like a predator chomping on hapless prey; he doesn't just address Blaqbonez like he's well above him, he raps at him like a disgusted OG. The bloodletting is so effective that, in hindsight, Blaqbonez's jibes on his response, "Green Blaq Green," come off as tantrums.

Tony Tetuila - "Omode Meta"

The beginning of modern Nigerian pop music, also known as Afrobeats, was primarily shaped by groups, particularly boy bands. Closing out the 1990s, the Remedies, comprising Eedris Abdulkareem, Eddy Remedy, and Tony Tetuila, were one of the scene's definitive acts, but they soon splintered, and out of that emerged "Omode Meta," arguably one of the top three greatest diss songs in Nigerian music history. The initial shock factor was that it was headlined by Tetuila, widely regarded as the least important member of the Remedies.Twenty-five years later, the significance of "Omode Meta" is impossible to understate, partly because it was ultra-effective in setting up Tetuila's seminal solo career, and also because it was a flat-out hit song that continues to be eternal. Featuring rap group Ruff Rugged N Raw, alongside 2Face Idibia and Blackface of Plantashun Boiz, Tetuila assembled a bunch of lyrical assassins to do the dirty work of tearing into his former groupmates, Abdulkareem especially, while he sang an immortal hook, aided by wonderful adlibs by Idibia, that instantly garnered public affection.

AKA - "Composure"

The beef between AKA and Cassper Nyovest had everything! There were tweets – a lot of tweets – and social media posts; there was drama, from a slap to allegations of a gun being pulled; and of course, there were diss tracks. After a couple of disses lobbed by Nyovest, AKA finally pulled up with the most potent words of the situation with "Composure," an ultra-assured slapper that's the audio equivalent of handing out a can of whoop-ass.

As soon as AKA opens his mouth on the glitzy beat, his level of confidence is preposterous. He's authoritative without the need for aggressive posturing; this is AKA in his element as a rap artist with Teflon swagger. He knows his opponents "hates me with a passion" but he comes off cool as ice under all that heat, issuing a raft of unforgettable quotables like "My niggas in position when they ring the bell/ They gonna get your pony tail like a Holy Grail." By the time Nyovest went personal with his reply, "Dust to Dust," you could smell the desperation on him – a sign that AKA's damage was indelible.

Southern Africa's music scene is currently undergoing an exhilarating renaissance — a vibrant blend of history and boundary-pushing innovation. Across the region, artists are boldly redefining genres, merging the ancestral with the avant-garde, and crafting sounds that resonate far beyond their borders. From South Africa's pulsating electronic beats and razor-sharp lyricism to Lesotho's compelling storytelling and Zimbabwe's infectious dancehall rhythms, this collection of standout tracks reveals a region bursting with creative energy and artistic confidence.

Each artist featured here commands their own unique space, like Ciza's chart-climbing dancefloor anthem, which marries irresistible grooves with cinematic flair; Brotherkupa's fearless reimagining of jiggy rap with a rebellious edge; or Ntate Stunna's gripping narrative follow-up that pushes Lesotho's rap scene into new cinematic territory. The soulful introspection of Moonchild Sanelly, the magnetic swagger of Nasty C, and the genre-defying sounds of Kharishma's Limpopo-rooted lekompo further highlight the rich diversity fueling this creative explosion.

This is a sonic landscape where tradition meets experimentation, where stories of resilience, love, and identity unfold over infectious beats and intricate flows. Collectively, these songs showcase the artistry, innovation, and cultural pride that define the music horizon of 2025.

Read ahead for the Best Southern African Songs of 2025 So Far.

Ciza - “Isaka (6AM)” feat. Jazzworx and Thukuthela (South Africa)

"Isaka" is an undisputed banger. Since its release in April, the song has climbed the charts, entered the hearts of dance music lovers, and given dance floors another reason to come alive. The Tarryn Tippens-directed video is a lavish display that mirrors the track's energy, allure, and infectious groove, securing its place within the lush and evolving terrain of South African electronic music.

Sannere - "Hoba Monna" feat. Selimo Thabane, Opublic'smba, Flash Cortez, Wave Rhyder, Marcx Brass (Lesotho)

This track is a bold statement from some of Lesotho's most potent artists. Led by Sannere, who is arguably the artist of the moment, "Ho Ba Monna" gathers a constellation of the country's sharpest talents to interrogate the myths and expectations of masculinity in a time that demands truth, vulnerability, and emotional depth. Each voice adds a distinct texture, offering not just musical range but layered perspectives. The result is a timely, resonant anthem that reflects Lesotho's evolving sound and places it squarely within the global conversation.

Jah Prayzah - "Kuno" (Zimbabwe)

Jah Prayzah has carved out many musical bags in the many years he's been active in music, and he can twist and turn at any point to reveal a different side of his artistry. "Kuno" was the first release from his new album, Ndini Mukudzeyi. He digs deep to sing his heart out about love, legacy, and the bonds that remain unbroken after life has ended. It's also an assurance to the one left behind that the ancestors see them and know them. Jah Prayzah is a formidable artist.

​​Oriiginelle - “Nguwe” feat. Jay Jody (Eswatini)

On "Change," Eswatini emcee Oriiginelle traded lavish bars with South Africa's Zulu Mecca and effectively marked the 'real rap' register with one of 2024's underrated releases. "Nguwe" carries the same jazzy, lo-fi feel and finds a vulnerable Oriiginelle singing her lungs out and stacking harmonies, with lines like "still got so much work, I'm ill-prepared" before busting meticulous raps using flows integrated into some form of a higher power. Jay Jody stays on topic and elevates the song to a super saiyan level, rapping: "But I ain't perfect, ke na le diphoso (I have my own flaws)." This is elegant rap music that will resonate now and forever.

Gabopatwe & Mpho Sebina - "Lerato" (Botswana)

"Lerato," a stirring duet by Botswana's Mpho Sebina and Gabopatwe, is as close as music comes to the sound of joy. Rooted in longing and desire, it's a moody, slow-burning love song that speaks to the sweet surrender that happens when love takes over completely. Sebina's featherlight vocals and razor-sharp pen glide effortlessly over Gabopatwe's delicate, expressive piano work as his fingers trace every emotional contour of the track. It's a luminous offering for lovers everywhere.

Taniâ - “Dioguito” (Angola)

Angolan artist Taniâ breathes fresh life into Bernardo Jorge Bangão's classic "Dioguito," transforming the semba staple into a dynamic dialogue between tradition and modernity. Her voice glides effortlessly over the track, weaving nostalgia and innovation, while Francisco Alexandre Pedro's vibrant production injects just the right bounce to keep heads nodding and feet moving. It's a seamless blend of past and present that honors the roots while pushing forward.

Dlala Thukzin, Kabza de Small, MK Productions - "Muthi" feat. Zeh McGeba, Masuda (South Africa)

About a month ago, a clip surfaced online featuring Kabza De Small and Dlala Thukzin in the studio, cooking up what one can only imagine to be sizzling bangers. Some of the fruits from that collaboration are featured on 031 Studio Camp 2.0, a refreshing approach to electronic music rooted in a deep understanding of spirituality and a future-forward mindset unafraid to break new barriers. "Muthi" is sonic alchemy delivered in Dlala Thukzin's 3-Step grooves, Kabza De Small's unmistakable baselines, and Zeh McGeba's reassuring vocals. We might have another song for the summer with this one.

Kharishma - "Fly High Lekompo" (South Africa)

Kharishma is the moment. Her main occupation? Dishing out hits, which she does superbly. On "Fly High Lekompo," a melodic earworm rooted in South Africa's Limpopo province, she uses the infectious beat as a springboard to showcase the full range of her talent. The result is both catchy and commanding, a clear reminder that she's a force to be reckoned with.

Ntate Stunna - "Robari 2" (Lesotho)

With his debut offering, Sesotho Fashioneng, Ntate Stunna ushered a new age of Lesotho rappers, ones who drew from the innovations of both Famo musicians and rappers of an earlier time, such as Kommanda Obbs and Skebza D. The original "Robari," taken from that album, is a vivid tale of a robbery gone wrong. A series of unfortunate events leaves the protagonist at odds with himself, wondering how he'll escape a situation that now involves police officers. On the Flash Cortez-produced follow-up, Ntate Stunna disregards imminent danger and tries to negotiate with the hostages. "Toronko kapa mokhohlane/ ke re nka mpa ka baleha/ lebaka le nke keng ka tšoaroa, ke tsoile ka parole ene ha ke sa itlaleha, ("Jail or funeral/I'd rather run away/ I can't be arrested, I haven't been reporting for parole/")" he raps, as the cinematic soundscape elevates the song's impact. This is how you do a follow-up.

Shandesh & Mvzzle - "Sdudla or Slender" (South Africa)

Shandesh is a rising voice from Limpopo championing the lekompo sound — a genre defined by staccato percussion, synth-heavy production, and the signature use of auto-tune. Popularized by acts like Shebeshxt and Kharishma, lekompo gives voice to the everyday highs and lows of South Africa's youth. With "Sdudla or Slender," Shandesh adds another anthem to his growing catalog, building on the momentum of his 2024 breakout EP Versatile and further cementing his place in the genre's vanguard.

Brotherkupa - "Today Is A Good Day" (South Africa)

Brotherkupa's aura is currently unmatched. Alongside artists like Mfanatouchline and collectives like The Qwellers, he's ushering in a new era of jiggy raps and outlandish production that borders on disrespect in the best way possible. Here, samples are chopped, sped up, slowed down, reversed, and paired with buzzing 808s. It's an entire vibe. And the streets are responding: his fourth album, Before The Worst, shot to number one on streaming platforms upon release. Echoing the sunshine and glory of Ice Cube's 1992 hit. "Today Is A Good Day" is more than a statement — it's a lifestyle, a religion, and a way of life.

Killer T - "Magunje" (Zimbabwe)

In the animated video for "Magunje," Zimbabwean dancehall stalwart Killer T portrays an easy, carefree life. The song celebrates the finer things, luxuries, and pleasures that, while enjoyable, might still attract trouble with the authorities. Through a series of hilarious incidents, Killer T maintains an energetic flow that drives the song from start to finish, adding to its charm and playful defiance.

lordkez - "Aweh" (South Africa)

South African R&B is in a mighty healthy place right now, with new releases emerging left, right, and center across the burgeoning scene. Lordkez, a staple of this sonic wave, whose reign has blessed us with collaborations with Maglera Doe Boy, Bas, and Shekhinah, shines on "Aweh," a colloquial term for "yo." The vibes are vibing; the choreography by the inimitable Tarryn Alberts is on point, and her command of the music elevates the track to another level.

Voltz JT - "Medzai Fridge" (Zimbabwe)

Every track the Zimbabwean emcee Voltz JT touches turns to gold. With a voice that echoes the gravitas of rap's greats and a mastery of flow that stretches words, flips meanings, and reassembles them into nuggets of inside jokes, prophetic wisdom, and unapologetic badassery, he carries an entire scene on his back. "Medzai Fridge" (Shona for "put it in the fridge") is bass-heavy, raw, unfiltered, and impossible to ignore. Beware of the funk.

Lowfeye - "Tango" feat. Usimamane (South Africa)

Lowfeye and Usimamane butt heads and unleash pure lyrical warfare. Lowfeye sets it up, leaving the slate clean for his counterpart to run wild on the beat. "This how it be, nobody's safe when I step out the house," he declares in the opening line. Usimamane wastes no time, making it clear that every rapper in the game is his offspring. He even slips in a shoutout to Riky Rick before passing the mic back to Lowfeye, who excavates words so jiggy they deserve their own dictionary.

Grizzly - "Sheleni" feat. Lyrikal Busta & Sarnilo (Eswatini)

On "Sheleni," Eswatini's Grixxly puts his own spin on the one thing that rules us all: money. Teaming up with Lyrikal Busta and Sarnilo, the fire-spitting emcee trades intensity for ease. The trio glides over the beat with effortless, laid-back flows that make the track feel timeless. It's a smooth, head-nodding anthem that reminds us that sometimes, the best flex is not stressing at all.

Tieho - “Mohuli” (Lesotho)

If distinctive melodic flows and heavyweight rap bars are your thing, then Lesotho emcee Tieho is about to re-arrange your worldview. His latest release rides a warm synth bed and a chopped vocal sample from Lihoba tsa Matšekha, unfolding into a fully-formed cautionary tale about the fleeting nature of material wealth. Tieho stretches syllables, bends language to his will, and locks into rhyme schemes with surgical precision, all delivered over Emjay Elphy's minimalist but striking production.

Nasty C - "Psychic" (South Africa)

Nasty C is the undisputed don of modern South African hip-hop. With a decade's worth of hits to go back on, the artist doesn't seem intent on resting on his laurels. "Psychic" is the rage-inspiring song of the season, a display of the skill that the emcee has mastered over the years. It's full of memorable lines ("I gotta pay, rent/ so don't be nervous baby, hit the link"), the beat is anthemic, with horns that sound like moments before the earth ends, and the vibe is generational, proof that Nasty C is not the one to mess with at any time.

Moonchild Sanelly - "Mntanami" (South Africa)

Moonchild Sanelly bares new layers on Full Moon, her most cohesive and emotionally resonant project to date. There's a striking honesty that pulses through the album — a kind of vulnerability that doesn't come overnight but is earned over years of living, breaking, and healing. On "Mntanami," she digs into old wounds, not for nostalgia's sake but to make peace with the past and move forward. The production feels cosmic, bold, experimental, and unmistakably hers. It's the sound of an artist in full bloom.

Cassper Nyovest - "Kusho Bani" [South Africa]

It's been over a decade since Cassper Nyovest crashed into the mainstream with "Gusheshe," and in that time, he's remained one of South African music's most polarising figures. He's filled stadiums, launched a successful liquor brand, and undergone a spiritual transformation. Now, with "Kusho Bani," he returns to form, firing back at doubters and reminding the game of his staying power and knack for crafting hits. The song has introduced a new language to the cultural lexicon; "hosh kharamima," a phrase that appears in the song, is used by lovers across the board to express their admiration for their significant other.

Sjava - "Uyena" (South Africa)

Sjava's new EP Inkanyezi stands as a singular achievement in South African music. Recorded live during an intimate December 2024 performance, the project comprises entirely unreleased material. His command of the stage, his ability to hold space and guide emotion, is masterful. On "Uyena," he leads listeners through a gospel-tinged journey that blurs the line between concert and communion.

Internet Girl - "Treat" (South Africa)

Internet Girl's sound is an edgy mix of pop-rock, trap, and electronica fed through effect pedals, post-teenage angst, and the fleeting state of youth—all delivered through frontman TK's raw, unfiltered, and emotionally resonant lyrics. "Bhati Ntsika, where's your posi?/ they don't understand I got divorced parents/ and to my son I'd be the worst parent," he raps, his voice a fuzzy haze of broken childhood promises and the looming responsibilities of adulthood. Internet Girl is the sound of now.

saveHXPE - "80s Baby" feat. Baby Diaz (Lesotho/South Africa)

Lesotho's saveHXPE wears his influences on his sleeve. Following up on "Real," released earlier this year, he channels a Kendrick Lamar-esque cadence to magnetic effect. Baby Daiz adds the extra seasoning, elevating an otherwise intimate affair into a rap banger with serious replay value.

Miss out on the best Southern African songs of May 2025? Head to the article for hits from Lesotho, South Africa, and Zimbabwe, and more!

The “raised-by-a-single-mother" narrative is common in rap. So much that rap songs about fatherhood are few and far between.

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For Fathers' Day, we dug for some rap gems from South Africa which show appreciation to fathers, and those of rappers talking about their roles as fathers, in this updated list.

Featuring selections from South African names like Nasty C, Stogie T, Cassper Nyovest, Riky Rick, Reason, ProVerb and more, this list of 13 songs will take you into the love, care, and, sometimes, neglect that comes along with fatherhood.

Hear 13 South African hip-hop songs about fatherhood below.

Nasty C - “Dear Oliver”

Nasty C has come a long way; from spitting raps in front of his classmates in high school to becoming one of the most influential rappers shaping a new wave of South African — and indeed, African — hip-hop. The self-proclaimed “coolest kid in Africa” bares his heart on “Oliver,” a tender track tucked at the very end of his 2023 album I Love It Here, produced by the incomparable No I.D. With lines like “you give me drive like I tossed you a pair of keys / I thought before I’d have you, I would’ve asked your mama to marry me,” the song captures the raw emotion and anticipation of a father-to-be. It belongs in the same breath as Tupac’s “Letter 2 My Unborn" – a heartfelt testament to paternal love. If a father’s love could be wrapped in a song, Nasty C’s “Oliver” would be a definite contender.

Stogie T - “Son Of A Soldier”

There’s no magic to fatherhood. One simply shows up, consistently, and grows through the process. When fully surrendered to, fatherhood can become a transformative experience, perhaps even the highest expression of love. On “Son of a Soldier,” supreme emcee Stogie T reflects on a life shaped by exile: raised by parents devoted to the liberation struggle, losing his father young, and globetrotting with his mother while receiving a political education of the highest calibre. Yet the song is also steeped in the trauma of paternal absence. “Son of a cadre, only one of them made it / some agent laced my daddy whisky with a foreign agent,” he raps, an arresting line that distills the quiet violence of exile and the sacrifice of a freedom fighter’s life cut short.

HHP - “Mmago Prago”

The late, great HHP was a maverick storyteller, Biggie Smalls-level precise, wielding potent Setswana with ease, mixing in isiZulu, Afrikaans, and any other language he could lay his hands on. An entertainer extraordinaire, his brilliance often masked the darkness he carried. So when he died by suicide in 2018, the nation was left gutted, robbed of its beloved summer hitmaker, and confronted with a grief no groove could shake.

HHP’s reflections on fatherhood leaned heavily into his own shortcomings. In one devastating line, the chorus goes: “I guess it’s true that a baby ha se lerato,” a sobering reminder that the presence of children doesn’t always mean love is alive in a relationship. Using the mic like a confessional booth, he unpacks heartbreak, regret, and the quiet ache of broken intimacy. He tells us his partner left after twelve years: “She tells me she’s tired of drying tears, she packed up her stuff le tsa ngwana, eena o ikela makhaya” (“along with the child’s things, she is going back home”). Elsewhere, he admits to the reasons behind their unraveling – being too busy, never making time to truly love her.

Khuli Chana - “Diary”

Khuli Chana has a rare gift for releasing off-grid bangers, songs that often start life on his Facebook page or in private circles before reaching a wider audience. “Diary” is one such gem. First shared online years before it found a home on his 2018 Planet Of The Have Nots album, his return to form after a quiet spell, it remains one of the most vulnerable songs in his catalogue.

On “Diary,” Khuli pours his soul onto the page, unpacking the complexities of family and fame. He makes a promise to defend his sister from the man who got her pregnant, vents about the pressure from his aunts to settle down – something he would later do with Lameez Holworthy – and sends heartfelt condolences to fallen friends. But it’s in the second verse that the song truly stings: “Ten years later, everything is looking good but not me and pops / I wonder how he felt after he heard I got shot ‘cause he ain’t bother to reach out.”

It’s a passing line, just two bars, but it lands like a gut punch. A reference to the 2013 incident when police opened fire on his vehicle, nearly killing him. It also gestures to something deeper: a silence between father and son that lingers even in moments of near-death. That kind of estrangement can shape a man. Fractured father-son relationships have real consequences, and it’s often up to the wounded to find the courage to break the cycle.

Cassper Nyovest “Superman" (ft. Tshepo Tsola)

Cassper Nyovest featured Lesotho music legend Tshepo Tshola, who is the rapper's dad's favorite musician, on a song he dedicated to all fathers. In the song, Nyovest talks of his father as a superman for the lessons he taught him (“Thanks for teaching me to believe in The Word/ Thank you for teaching me to never hit a girl/ Thank you for teaching me to cry when I hurt/ Thank you for teaching me to cry when I hurt") and for protecting him from bullies in school, among other things. Tshepo Tshola's vocals give the song soul and a nostalgic feel.

A-Reece “Family" (ft. P-Jay and Amanda Black)

“Family" is one of A-Reece's best songs—the storytelling is astounding as the rapper narrates how he grew up with parents who were sleeping on separate beds, and how it affected him and his siblings. A-Reece's mother was the breadwinner as his father was jobless and didn't care for the family. It led to Reece assuming the breadwinner role at 16. He hated life because of his father. But the song ends on a good note, as Reece has forgiven his father, who now has a job, and is playing his role. "Family" is an intense, painful, and beautiful song from a gifted rapper. Amanda Black's hook is a tearjerker of note.

Emtee “Avery"

Emtee's debut album Avery was named after his son and the title track is dedicated to him. Over a mellow key-heavy beat, Emtee pours his heart out, revealing that his son is the best thing that has ever happened to him, and is the reason he hustles and makes sure he gets the best for him. What makes the song effective is that it's told in second person, so it's like you are listening to a father talking to his son, giving him advice and telling him how much he loves him.

Reason “No Sleep" Remix (featuring Tumi, L-Tido, Ginger Trill and Monoea)

The remix of Reason's song “No Sleep" isn't entirely about fatherhood but Reason's verse is. The rapper had just lost his son, and it led to one of his best verses to date (and he has a lot of those). He was remorseful and broken, spitting touching lines like: “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 little soul/ I'll do my best to live with the fact that he'll never see me kill shows."

ProVerb “The Journey"

ProVerb's music has always been autobiographical. Towards the end of his second album Manuscript (2006), ProVerb took some time to talk to his unborn child, and gave us access. The music he was given by Battlekat was fitting—a warm bass line, smooth keys and soft percussion. The rapper spoke of his excitement, fear and apprehension of the idea of being a first-time father. He rapped: “I'm being brave for the sake of everyone involved/ But truth is I'm a little afraid of what's going on/ I haven't even told your grandmoms/ Don't think I'm a coward, I just communicate better through my songs." His delivery was also smooth—as if he was giving his baby a lullaby.

Riky Rick “Papa Song"

On “Papa Song," Riky Rick talks of his late father and how growing up without a father affected him after being a drug addict, he eventually became a stronger man. There is vulnerability in his voice and the sinewy synths add to the song's somber mood.

An excerpt: “I miss you, pops, we miss you, pops/ To tell you the truth, no one cared if you were rich or not/ All I ever wanted was daddy to hold me down, to ask me questions/ They say my daddy never around when you got sick, I think I got the feeling you'd die/ But I never had the courage to cry/ So now I'm at the bar/ I'm thinking my life done/ 'Cause everything you know you meant to teach it to your son/ And everything you need to know you meant to learn it from your daddy"

ProVerb ft. HHP “Bread Winners"

On his third album, 'Verb was a different man than the man he was on his previous two albums—the unborn baby he was talking about on “The Journey" had done some growing up. “Bread Winners" saw him and fellow rapper HHP celebrate fatherhood and being responsible family men. “Breadwinners" even featured ProVerb's baby's vocals. The video, which was shot in a mall and contributes to the song's narrative, showed the two emcees shopping for babies' toys and clothes.

Sjava (ft. Saudi) "Baba"

On the song, Sjava talks to his late father. He talks about missing him and wonders if his father is watching over him or is proud of his achievements. He tells him he is not mad at him for breaking up with his mother. He even wonders if his purpose in life to ask for forgiveness from his mother on his father's behalf. Pretty intense.

N'Veigh "1st of June"

- YouTube www.youtube.com

On his debut album titled Peanut Butter, N'Veigh dedicated a whole song to his son, expressing his dear love to his "beautiful boy." He tells the story from when his little one was born, to present day. He touches on the uncertainties that come with knowing you are about to father, citing some advice his father gave him about being a parent.

Every week, OkayAfrica highlights the top Afrobeats and African music releases through our best music column, Songs You Need to Hear This Week.

Read ahead for our round-up of the best new African music tracks and music videos that came across our desks this week.

BNXN – “Cutesy”

Cool flame best describes "Cutesy," the new record from BNXN. Known for flexing his lyrical abilities, on this one, the artist goes for the atmospheric, utilizing the half-realized pomp of drill-esque drums to croon about his intentions for his lover. It's an affectionate performance made even more tender by BNXN's unfazed delivery, taking the theme in good stride even as the production infuses a strong dramatic quality. Sounding like a new era, we're all ears for what the artist has lined up. - Emmanuel Esomnofu

saveHXPE - "80s Baby" (feat. Baby Diaz)

Lesotho's saveHXPE wears his influences on his sleeve. On the follow-up to "Real", released earlier this year, he utilizes a Kendrick Lamar-esque cadence to magnetic effect. Baby Daiz is the extra seasoning, and levels up an otherwise intimate affair into a rap banger with multiple replay value. - Tšeliso Monaheng

Anendlessocean – "ZA"

Known for blurring the lines between contemporary gospel and the mainstream, Anendlessocean has delivered another record of stunning quality. "ZA" is an affirmative number elevated by its stirring, stripped soundscape and the artist's lucid lyrics, wherein he boasts of the assurance of living in the spirit. As always, it's a fine feat of musicality that is made even more beautiful through its resounding message. - EE

ID Cabasa, Bella Shmurda, Ayo Maff & Ajebo Hustlers – "Anytime Reimagined"

Veteran producer ID Cabasa has been orchestrating a series of reimagined songs, giving fresh life to some of the most transcendental records of the 2000s. On his latest, he flips the aspirational hues of 9ice's "Anytime," collaborating with a trio of artists who made their name from similar stories. A fine mix of lyrical sensibilities, the voices are in sync as well, making this undoubtedly one of the best songs from the project yet. - EE

Ishuu Industry & Ntate Stunna - "Ndeya Ndeya" (feat. 2wofresh)

On "Ndeya Ndeya", Ishuu Industry and Ntate Stunna create a party anthem for the ages. With 2wofresh in the mix, the song becomes more than just a jam; it's a statement of intent, never to stop loving the good times. - TM

Rowlene & Christer – "Don't Give Up On Me"

One of the most impressive voices in the scene, there's a vulnerability that is uniquely expressed in every Rowlene song. Her adeptness in the R&B style heightens her feeling for the mundane; even the most ordinary experiences are magnified when she sings about them. "Don't Give Up On Me" thrives on these influences. It emphasizes that while human flaws are inevitable, it's important for lovers to remain in awe of one another. With an exhilarating delivery that soars until the last second, it's one of the most emotive songs you've heard recently. – EE

B4bonah & Samsney – "Active"

Produced by Samsney, this record showcases a vulnerability in its arrangement. It explores the familiar Afropop theme of striving to build a better life, but its unique appeal comes from the infectious beat and B4bonah's spirited performance. Ultimately, it's a song reiterating the energy Ghanaian artists bring to the scene, and as always, it's active. – EE

The Cavemen - "Dancing Shoes"

Siblings Kingsley Okorie and Benjamin James are The Cavemen, a duo whose potent highlife songs have gained a sizeable following over the years. They have spent time with Lady Donli, KDDO, Busketmouth, and other shining lights in the Nigerian music scene. "Dancing Shoes" is a party manual, guiding you gently towards requisites on the dance floor. The aim, however, isn't to sweat, but to live in the music and never leave its magnetic field. - TM

Kwesta - “Joy” (feat. Nkosazana Daughter)

One of the most decorated rappers in South African hip-hop, Kwesta's range extends beyond the template he operates within. He has had bangers across genres and remains as sharp and relevant to the scene as ever, a testament to his staying power. On "Joy", he calls upon Nkosazana Daughter, whose silky voice is the sonic embodiment of easy living. In his usual, raspy voice, Kwesta spit lyrics steeped in slang so complex, it sounds like he invented the words for this song specifically. - TM

In the Arabic-speaking world, Marwan Moussa needs no introduction. The Egyptian German rapper and producer has dominated the rap scene for years, rising to fame for his hard-hitting bars and effortless flow. A man who enjoys bragadociousness and does it well, Moussa is the third most-streamed Arab rapper of all time and has received three All Africa Music Awards.

After losing his mother to illness in October 2023, Moussa did not listen to music for six months. Then, he returned with "3AMEL EH" (What do I do) in July 2024, on which he opens up to his therapist about his depression, inviting listeners into a journey of climbing out of the darkness.

This week, Moussa revealed الرجل الذي فقد قلبه (The Man Who Lost His Heart), a conceptual framework for the introspective tracks he has been releasing. Throughout the album, the female voice we hear on "3AMEL EH" tells him that everyone deals with the same feelings in different ways. She introduces him to the five stages of grief - denial, anger, bargaining, depression, and acceptance - which he adopts as an artistic lens for the 23 tracks across five discs.

"I wanted to make a sad album, but I cannot say accurately what I was going through," Moussa tells OkayAfrica. "I was creating as I went and tried to fit songs into categories. Maybe creating these songs was therapeutic, but I cannot say accurately which stage I went through with which song."

Each disc has stylistic elements that bring Moussa's emotions to life. Denial sounds like string instruments and trap shaabi, a mix of dark trap beats over traditional Egyptian rhythms. Anger rises with Arabic scales and instruments like the Oud. "I felt like [anger] is a very Arab emotion and state," says Moussa. "It's how we express grief the most, especially as men."

His favorite track on the album, "TAQATO3," is on the anger disc. Starting rap-heavy, the track samples the iconic song "Shagar El Lamoon" by Egyptian singer Mohamed Mounir, before ebbing into a vibe that Moussa describes as "melancholic, somehow sad but euphoric."

Moussa wrote and recorded "TAQATO3" between Thailand and Los Angeles; the album came together in studios all over the world. "We just recorded in the places that we happened to be at, and we let it add color and flavors to the album, which I think added diversity to the songs," he says.

Bargaining heavily features the piano, the instrument Moussa associates with questioning. While the other discs have at least one feature, bargaining is the only emotional state he navigates completely alone. With track three of that disc, "Fahman Donya," he recently became the first Arabic-language rapper to perform on the global rap platform From The Block.

Depression is characterized by ambient, mournful textures. Moussa sings and bears his soul over simplistic, repetitive melodies that feature string instruments and the piano, carrying a distinguishable Egyptian rhythm that embeds the universal experience of loss in a specific cultural context.

Throughout the album, a male voice tells Moussa "hawil tiftikir" (try to remember), reminiscent of Kendrick Lamar’s use of voicenotes. However, Moussa did not have any musical influences for this project. "In the beginning, I thought that was a bad thing. Everything just came from the mind," he says. "But I hope that it will become more timeless because there are no musical reference points."

Acceptance closes the album with Moussa emerging on the other side. This disc is more playful, incorporating jazz piano, Afrobeats, and the assertion that he must keep trying. "[The album] is not about being sad or breaking up with someone. It's about losing someone who dies, specifically, "says Moussa. "I would love it if it helps someone navigate through a period of sadness. Like a map."

Now that he has revealed this deeply vulnerable and raw side of himself, will Moussa continue along this path? "I miss doing an ego song," he says and laughs. "I want to do music that makes me feel confident. That's what I love about classic rap: you say stuff, you feel cool, and it feels good. But that's not how I felt the past year, so I couldn't rap like that."

There's a common concern that Egyptian rap lost its authenticity when it became mainstream, and some voices mutter that the genre is dying out. Moussa agrees that rappers have not been at their best in recent years, but he has noticed a brooding resurgence.

"I think people will become more competitive in the next few months. The action is going to come back," he says. "I think we'll see some battles and hear music that feels like more time has been spent making it. I can feel it and am excited to be a part of it." The Man Who Lost His Heart, with its poignant lyricism and expertly crafted sonic layers, can spearhead a revival of vanguard Egyptian rap, should it actually be on its way.

Producteur à succès de Ja Rule, Jennyfer Lopez, Jay-Z et d'Ashanti, parmi d'autres, Irv Gotti, né Irving Domingo Lorenzo Jr., fondateur du label Murder Inc. et de la série "Tales" sur BET, est décédé le 5 février, à l'âge de 54 ans.

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