Kabza De Small’s ‘I Am the King of Amapiano: Sweet & Dust’ is a creative landmark for Amapiano
An ambitious 3-hour set that that offers a full glare into the subgenre's limitless potential
When Spotify released its list of the most streamed South African artists in South Africa for 2019, it wasn’t surprising to see Kabza De Small sitting at top of the list. In a year where Amapiano fully emerged as a dominant force of the South African music mainstream, Kabza established himself as one of the biggest purveyors of the sound, and perhaps more meaningfully, he evolved alongside a subgenre that he helped introduce to a wider audience.
While there’s an ambiguity to the exact origins of Amapiano, Kabza is widely regarded as one of its earlier popularisers, going back to his 2016 debut album, ‘Avenue Sounds’. At the time, Amapiano was still establishing its credentials as a niche sound, and in the following years, the infectious blend of Kwaito basslines, Deep House, Jazz and Bacardi (a folk-dance style originated in Pretoria) steadily gained ground amongst township youths. Songs and DJ mixes spread through online forums and peer-to-peer sharing on platforms such as WhatsApp and more.
As the subgenre became synonymous with dancefloors and a bigger part of youth culture, key players began to emerge, and it’s a testament to Kabza’s star power that he’s at the top of the pyramid, especially when you consider that it is common for pioneering figures to fade into the background when a sound picks up steam commercially. Last summer, Kabza vaulted into Amapiano’s foremost superstar with ‘Scorpion Kings’, the behemoth debut collaborative project with DJ Maphorisa, which has been certified Diamond (over 100,000 in sales) by the Recording Industry of South Africa and can be easily considered as an instant classic.
Up until mid-April, and in addition to a long list of production credits and guest appearances, Kabza has delivered six more projects, including four collaborative tapes with Maphorisa and two instalments of the mostly instrumental ‘Pretty Girls Love Amapiano’ series. While this extensive catalogue is a treasure trove of the very best and biggest Amapiano records, it also makes a great case for Kabza’s creative range – the collaborations with Maphorisa were heavily steeped in full-bodied club bangers and his solo projects tilted towards being more flamboyant and experimental. All of this sets the stage for Kabza’s latest project, ‘I Am the King of Amapiano: Sweet & Dust’, an ambitious 3-hour set which indulges the producer’s creative whims without scaling back on overall quality.
Very often, the work of prolific artists face the danger of serialisation, meaning that projects become a bit blurred in the minds of listeners rather than being respected and judged as individual entities. This is why they raise the stakes when it comes to projects they deem definitive—e.g. the higher level of reverence for Future’s ‘DS2’, even though the album followed a run of classic mixtapes. For an artist who tags 90+ minutes worth of music as EPs, ‘I Am the King of Amapiano’ holds the highest stakes for a Kabza project since ‘Scorpion Kings’, by virtue of its title and the sheer scope of its 27 tracks. The most important thing is that it does payoff; ‘I Am the King of Amapiano’ is a terrific front-to-back album that serves as a resounding statement of Kabza’s undeniable powers, and it immediately stands as a creative milestone for the entire subgenre.
As its sub-title connotes, the album is a two-sided affair. ‘Sweet’, the album’s first part, follows in the lineage of the ‘Pretty Girls’ series, due to its overarching lushness and melodic explorations, albeit with far more interest with incorporating guest appearances. ‘Dust’, the other part, follows the dance-driven ideals of the Scorpion Kings projects. Both sides contribute to ensure the album is in perpetual motion, however, it’s easy to spot the dichotomy between them from the very first listen.
Perhaps due to the mandatory emptiness dancefloors, ‘Sweet’ feels like the more rewarding side to listen to at the moment, with its immersive and gorgeously layered beats tilting more towards head bops and themes revolving around longing and romantic intimacy. While he still brings the party with this side, there’s an intended clarity on Kabza’s path which combines his beat-making quirks with a sharp ear for song arrangement. Building out from the drums, then adding a bevvy of very radiant piano chords and a variety of other instruments, the beats are full compositions in themselves, and even though this side is truly collaborative in the best way possible, Kabza elevates himself into the director’s seat, peeling and adding layers according to how he sees fit.
On instant standout and predictably the biggest song off the album yet, “Sponono”, Kabza enlists the star-studded line-up of Wizkid, Burna Boy, Cassper Nyovest and Madumane, curating an effortless synergy amongst his guests, over a beat that sounds like a breezy evening on a tropical island. Amidst buoyant percussion and a dominant, floating piano chord, he throws in a glockenspiel riff underneath Wizkid’s bridge, mouth whistles accompanies Cassper’s hook and quivering synths embolden Burna’s chorus, as each artist tags in and out without dropping the song’s momentum.
“Sponono” is a phenomenal feat and the brightest example in a section packed to the ear with such collaborative highlights. In as much as ‘Sweet’ clings to Kabza’s outré sensibilities, he doesn’t leave his featured artists to simply sink or swim, rather he pulls them closer into his orbit in a way that’s conscious of their respective strengths, whether it’s Wizkid finding a pocket to vibe on the hypnotic “Need You Tonight”, or creating the right ambience for Samthing Soweto’s majestically ethereal voice on the Disco-style swing of “Duze”, or ensuring Sha Sha’s glossy and soulful coexists with Madumane’s hysterical mumble on “Why Ngikufela”.
With the exception of “Ndofaya”—a song that sounds like David Guetta Amapiano mimic—the engrossing quality of ‘Sweet’ comes from Kabza’s ability to invert influences in a way that portrays Amapiano as boundless, wholesome sound beyond its distinct elements. On the backend of the section, he plays up the importance of Jazz to the subgenre, especially on the consecutive tracks, “Mapiano Blues” and “Many Faces”. Both songs feature vocal scats by Howard and sublime guitar work from XolaniGuitars, with Kabza setting and constantly adjusting the sonic framework for the melody interplay between both artists—in this setting, he comes across as a bandleader more than a beat-maker.
In comparison to the expansive edge of the preceding section, ‘Dust’ is more of a standard fare, dance-charged Amapiano project, but in the hands of Kabza, even that comes with a couple of tricks and twists of its own. Sure, the section is geared towards inspiring full-bodied swings and the endless styles of leg works, but there’s an endless list of interesting sonic details that keeps things refreshing for observing listeners. If not for its strident tempo, “iLog Drum” would fit right into the lushness of ‘Sweet’; electric zaps and sci-fi effects heighten the elaborateness of “iZolo”; there’s strobing keys and beeping sports whistle on “Sam Sokolo”; and XolaniGuitars appears on “Quta”, adding to the loudness with a digitised bass guitar riffs.
Pulling out peculiar highlights like this ultimately says more about ‘Dust’ being a complete and cohesive DJ set, rather than a playlist of high-octane songs. Through that lens, the section starts right when the party is heated, and it rides that wave for 76 straight minutes. Of course, there’s a fair share of standout moments, like Focalistic infectious chant drawling over the buzzing synth loop and wide groovy bassline of “Rabu Chupa”, the delightful table top drum pattern on “Masupa”, and the synth-pop swing meets ‘90s house vibe of “Jwaleng”.
While ‘Sweet’ relies on Kabza’s creative intuition to show his willingness to innovate relentlessly, ‘Dust’ is a stunning display of his sensibilities as a club controller. Together, both sides affirm the producer/DJ’s claim on the title: ‘I Am the King of Amapiano’. With the reception the album received upon release—all 27 of its tracks were in South Africa’s Apple Music Top 100 within days, and there’s still 11 on the same chart as time of writing—this was set to be Kabza’s summer of solo domination. It still is, but without the availability of packed clubs, sold-out concerts at home and international festival appearances, his ascension to the next level feels limited.
The irrefutable positive is that, ‘I Am the King of Amapiano: Sweet & Dust’ goes beyond the conceit of self-approval—it’s a creative landmark that offers a full glare into the limitless potential of Amapiano itself. Even with its upward trajectory, there are cynics who still look at Amapiano as a fad, due to the increasing influx of producers and the revolving door of hit singles. By virtue of its existence and sheer brilliance, ‘I Am the King of Amapiano’ is a direct response to those scepticisms, proving that the sound is wide and effective enough to either be avant-garde or accessible—or both at the same time.
Listen to ‘I Am the King of Amapiano: Sweet & Dust’ here.
Featured Image Credits: Instagram/thekingofamapiano
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Luwa.Mp4 Releases Riotous Debut Album, ‘punKstA*’
Across the album’s 12 tracks, Luwa.Mp4 continues his fiery exploration and fusion of genres like Punk Rock,...
Rising singer and rapper Luwa.Mp4 has released his debut album titled ‘punKstA*.’ The underground star who has been on a release spree all year long, announced the imminent arrival of his debut only a couple of days ago with a cryptic trailer video and an Instagram caption that simply read ‘PUNKSTA* MONDAY.’
Before the arrival of ‘punKstA*,’ the rising fusion star had been showcasing his diligence and talent with a consistent output that has seen him put out over a dozen songs since the start of the year. A string of singles led to a 6-pack titled ‘lore skooL,’ while a deluxe version that housed 5 new songs came just a month later.
His debut album’s lead single, “pUNK FANTASY,” arrived in late July, setting the stage for what could prove to be a pivotal moment in the underground star’s burgeoning career.
Across the album’s 12 tracks, the eclectic singer continues his fiery exploration and fusion of genres like Punk Rock, Afropop, Hyperpop, and Rap into something uniquely different. Tracks like “Pure Water,” which was previously teased on Cruel Santino’s Subaru Live Stream, the abrasive, Tecno-influenced “pROMISED NEVERLAND,” and the more laidback “pEEp MY RIDE” put on display the sort of varied, autotune-soaked approach that has set him apart and helped carve a growing niche.
While Luwa decided to go solo on his debut, credited as the only recording artist, the album was brought to life by a cast of talented producers like frequent collaborator TOPSY, Emyboi, JTRN, 3CB, FVKK.ANDI and Jeremy Cartier.
Listen to ‘punKstA*,’ here.
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Shekhinah Returns With Surprise Album, ‘Less Trouble’
The South African R&B star is at her most assertive on her first album in four years.
South African R&B and Pop singer Shekhinah has released a new surprise album titled ‘Less Trouble.’ The Durban star, who had been quiet for most of the year, took to social media shortly before midnight to share the new album’s cover, synopsis, and tracklist, simply stating, ‘If you’re seeing this my album LESS TROUBLE is out now at Midnight,’ in an Instagram caption.
The soulful singer first began teasing ‘Less Trouble,’ her first album in over four years, about a year ago when she released its lead single “Risk,” a bouncy Afropop-inspired collab with Ghanaian star MOLIY. A few months after the release of “Risk,” she put out “Steady,” a dreamy pop number that suggested that something bigger was on the horizon. But then it was largely radio silence about a project until its surprise arrival at midnight.
If 2021’s ‘Trouble In Paradise’ represented a coming-of-age for Shekhinah, subsisting some of the dreamy, youthful exuberance of her debut album for more measured musings on themes like heartbreak and grief, ‘Less Trouble’ finds her at her most assertive, writing and singing with the acuity of someone who is grown, decisive and discerning. The delicate opener “Break Up Season” sets the tone for the rest of the album as she shows little tolerance for shady behaviour and toxic patterns.
Other standout cuts on the album like “Bare Minimum,” a sombre collab with fellow South African award-winning singer lordkez, the ethereal, in-your-face interlude “New Casanova,” and the percussive “What Are We,” where Shekhinah contemplates the nature of a relationship but ultimately demands all or nothing, all drive home a part of the album’s synopsis, which reads ‘A BOOK ON MORE HEARTBREAK BUT LESS HEARTACHE.’
Shekhinah invites a couple of new collaborators on ‘Less Trouble,’ featuring the aforementioned MOLIY and lordkez as well as multi-instrumentalist Mars Baby and Young Stunna across the album’s 11 tracks. Mpilo Shabangu handled the majority of the album’s production, while other producers like Michael Morare, her longtime collaborator, Mthintheki Mzizi, and Vuyo also contributed to the album.
Listen to ‘Less Trouble’ here.
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The NATIVE’s First Impressions Of Amaarae’s ‘Black Star’
‘Black Star’ marks another evolutionary arc for Amaarae, and The NATIVE team offer our thoughts after a...
Change has always been a constant theme in any discussion about the career of Ghanaian-American star, Amaarae. Since she emerged as a singular voice in the late 2010s, she has evolved from a sirenic Afropop-adjacent singer into a Punk-Pop firestarter with minimal fuss. ‘Fountain Baby,’ her 2023 sophomore album, was a sweeping departure from the lilting melodies and shapeshifing cadences of the hypnotic ‘The Angel You Don’t Know,’ emphasizing her commitment to charting new courses with her music.
In the lead-up to her new album, ‘Black Star,’ she has wholly embraced a Pop aesthetic and sheen that was reflected on the album’s promotional singles, “S.M.O.” and “Girlie-Pop!.” Now that the album has arrived, the singer has advised listeners not to go in expecting a continuation of the soundscape on ‘Fountain Baby.’ As keen followers of Amaarae’s career from its start, we are sure that ‘Black Star’ marks another evolutionary arc for her, and we offer our thoughts after a few listens.
WHAT WERE YOUR EXPECTATIONS OF AMAARAE GOING INTO THIS ALBUM?
Kemnachi: I had zero doubts that she would impress me again. Amaarae always comes correct. She is audacious with her choices, taking creative risks most artists would not dare to imagine, and somehow rendering them seamless, deliberate, and effortless. Her music has a way of enveloping me: it’s fluid, slightly dangerous, and yet irresistibly sensual. Every project feels like an immersive world she has curated down to the finest detail. With ‘Black Star,’ I knew it was not going to be a mere collection of songs but another meticulously constructed realm.
Bamise: I expected something fun, genre-bending, and sonically diverse in the fashion that Amaarae’s music typically is. I may have taken the album title a bit too literally, though, because listening made me realise I had an eye out for some Pan-African statements or something to spark discourse on African identity, but I didn’t quite catch any of that.
Boluwatife: Amaarae has largely delivered throughout her career, so I knew she was going to come correct again. She’s one of those forward-thinking artists who take the kind of risks most others wouldn’t, but she always manages to make it work. She’s proven to be a musical omnivore who constantly meshes her wide-ranging influences into something new, fluid, icy, and more often than not, sensual. I knew ‘Black Star’ wasn’t going to be any different.
WHAT SONGS STOOD OUT ON THE FIRST LISTEN?
Wale: I liked “Girlie-Pop!.” I feel like it captures Amaarae’s vision of pushing Afropop into the future. She’s also really grown comfortable with music and lyricism and will not dumb down her message for anybody. The instrumental for “Girlie-Pop!” is also a wonder; it’s so dense, but there are pockets for Amaarae to be emotive about her feelings. Top song!
Daniel Akins: I need to hear “B2B” at the next rave I’m at. Amaarae is in her Dance era, and I’m here for it. Kiss Me Thru The Phone pt 2” with PinkPantheress is the collaboration I knew I needed, and I’m glad they finally linked up. It’s a clear standout on the project; their ethereal style complements each other.
Shina: “B2B” was the one that did it for me. That is my favourite track on the project. The number of times I ran it back was unhealthy for a first listen. It was also really fun to catch the Don Toliver “Best You Had” sample. I need to hear this outside!
HOW WELL YOU THINK THE GUEST APPEARANCES ENHANCED THE LISTENING EXPERIENCE?
Israel: The guest features on Black Star aren’t mere flexes. They’re strategic, theatrical, and sometimes emotionally resonant. They enhance, yes, but they do so on Amaarae’s terms. A standout for me was PinkPantheress on “Kiss Me Thru The Phone pt 2.” The tradeoff is that a few songs feel like dazzling cameos rather than an integrated conversation, yet overall they enhance the album’s drama, texture, and bravado with precision.
Daniel Banjoko: Everyone showed up and delivered, no weak links here. Instead of just guest spots, they felt like vital pieces of a bigger puzzle. Charlie Wilson on “Dream Scenario” nailed his part especially, making the track sound exactly like its name promises.
Moore: The guest appearances on ‘Black Star’ feel very intentional; each one enhances the album’s world without overshadowing Amaarae’s vision. PinkPantheress’s signature airy delivery meshes with Amaarae’s experimental pop sound. Naomi Campbell’s commanding voice on “ms60” is an unexpected but powerful addition, adding drama to the track. Each feature feels carefully chosen.
WHAT SONG IS THE BIGGEST SKIP?
Bamise: Not to be a party pooper, but I don’t get the PinkPantheress collab, “Kiss Me Thru The Phone pt 2.” It feels like a PinkPantheress song with less pop in it, and just borrows the title of the iconic Soulja Boy song but has no other similarities. It’s between that and “ms60.” For me, the chorus of that sounds like something I’ve heard from Amaarae before, and I doubt its absence would have diminished the album.
Shina: I feel like biggest skip is a strong word for a solid project, but if I have to pick a song to skip, it’ll be “ms60.” I think it’s easily forgettable.
Wale: It’s hard to single out a song that stuck out to me, but hearing Naomi Campbell on “ms60” threw me off. It’s just too contrived to bear for me.
WHAT SONG HAS THE BIGGEST HIT POTENTIAL?
Boluwatife: My gut answer would probably be “She Is My Drug,” just because of how she beautifully reworks the melodies from Cher’s “Believe.” DJ remixes of this song could go crazy. But if I were to think a bit more logically, TikTok would probably lap up “Kiss Me Thru The Phone pt 2.”
Daniel Banjoko: “Kiss Me Thru the Phone pt 2” goes crazy. Amaarae and PinkPantheress are the perfect match. This collab feels like it was destined to happen, and it delivers in full. Honestly, I can’t believe it took this long, and now I just need more tracks from these two, ASAP.
Moore: “Kiss Me Thru The Phone pt 2” has the biggest hit potential on the album. The song has a nostalgic, sad party girl vibe that makes it appealing, and it’s also catchy and well-produced. PinkPantheress consistently performs well on platforms like TikTok, and her fanbase overlaps in a really interesting way with Amaarae’s. The collaboration feels organic and exciting, and will likely create a lot of buzz.
OVERALL FIRST IMPRESSIONS
Wale: There is a very visceral quality to how Amaarae expresses desire that I don’t hear very often in a lot of music. It’s abstracted and warped in futuristic textures, but it’s very profoundly human, and it’s always great to hear that even as she advances the sonics of her delivery. I do, however, have an issue with the thematic scope of ‘Black Star.’ I thought there would be overt references to her experiences of navigating her Ghanaian identity, but those references are limited to samples and interpolations. It’s still an incisive listen and a triumph for finding ways to advance music from Africa.
Bamise: It’s Amaarae; she can never go wrong. But for me, this is the album that excites me the least from her catalogue. Other than how bass-heavy some songs on the album are, like “S.M.O.” and “She Is My Drug” among others, it feels similar to other projects I’ve heard from her in a way that’s not exactly refreshing or mind-bending. I may have gotten spoiled by how diverse and eclectic Amaarae’s music tends to be, but I wanted more from her. I expected more gangster, Hip-Hop Amaarae. Thematically, I didn’t get anything that gives the Black Star of Ghana, or black stars are ruling the world. Will I listen again and enjoy every bit of it still, though? Yes, I will.
Shina: So first off, this is a solid body of work. I love the fact that Amaarae stuck with the Dance, Electro-Pop route she was going with throughout the album. The features also played their part, adding their unique touches to each record. I would say, though, a feature I would’ve loved to hear on this project is 070Shake. I think she would have been perfect on “100DRUM,” but we don’t always get what we want, do we? Thematically, I think Amaarae could’ve leaned heavily on her Ghanaian heritage, seeing as the title and cover of the album are a nod to that. Maybe Amaarae just wants us to dance, and that’s what I’m just gonna do, and you should too.
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