Okmalumkoolkat – Holy Oxygen
Of all the country’s homegrown pop, South Africa’s hip-hop scene has had the hardest time proving its commercial sustainability where house and kwaito – local musical genres whose successes it’s constantly measured against – have more or less flourished. Some pundits say that has begun to change this year. Their optimism comes from the record amounts of mainstream recognition being showered upon SA rap right now. With still some way to go, a series of milestones reached in 2014 could indicate that not only has found its voice at last, but also that more and more, South Africa’s young music buying public is ready to listen. Smiso “Okmalumkoolkat” Zwane is the default flag-bearer for Dirty Paraffin and Boyznbucks – the duo and collective he juggles along with his solo pursuits. Sebenza, his collaboration with UK production duo LV, was the start of his path to increasing acclaim in Europe. Now he has delivered his latest, Holy Oxygen. The sci-fi-styled video shot in an abandoned sewerage farm near Soweto, a mine dump and a eucalyptus forest, pairs perfectly with Smiso’s lyrics zipping between languages. The International Pantsula shows here why he is the one most likely to break western markets.
Tumi – In Defence of My Art, featuring Ziyon and Reason
For his second single from his forthcoming album, RobtheChurch, South African poet and MC Tumi aimed for his usual thought-provoking impact but got a bit more than he had anticipated. Three weeks after its release, one still image from his latest video In Defence of My Art circulated on Twitter and provoked the wrath of prominent feminists, who were offended at the sight of Tumi with two leashed women on all fours. The debate raged for days decrying violence, patriarchy and misogyny. The rapper, widely considered progressive on women’s issues, said in his defence: “I love that the exchange happened, and I think it is important. However, it may [have] sparked more conversations around accountability, sexual violence, sex power dynamics and art.” It’s hard to pinpoint another hip-hop music video in South Africa that has fuelled such a timely, relevant and impassioned discussion about gender relations.
AKA – Run Jozi, featuring KO
Now that hip-hop is the true global musical lingua franca, rappers all over the world are localising it, paying tribute to the cities in which they dwell, and which shape their individual spins on the Bronx-born culture. Run Jozi does just that for Johannesburg. Current rap favourites AKA and KO trade braggadocio punchlines, and tip hats to their kwaito predecessors TKZee in a tune that fittingly ushers in a new era for South African hip-hop.
KO – Caracara, featuring Kid X
A Caracara is a Volkswagen microbus, the transportation of choice made popular in the 90s in South African townships and commonly associated with local party scenes. With this song, a merger of kwaito and skhanda rap went mainstream with more than a million views on YouTube – the first viral success of its kind in South Africa.
AKA – All Eyez on Me, featuring Burna Boy, Da Les and JR
One of the more exciting trends in Africa is the growing number of cross-pollinated hits that are springing up as more young music heavyweights from different regions collaborate with each other. Nigerian star Burna Boy had the door to the South African market held open for him by his slew of previous hits. Thanks to this power syndicate, the hinges have been ripped off. All Eyez on Me is hip-hop’s bonafide summer jam across the continent.
