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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ICYMI: REMA’S AMAPIANO-INSPIRED “WOMAN” WAS OUR BEST NEW MUSIC PICK LAST WEEK
Skyla Tylaa Is Taking Off
For the next phase of her career, Skyla Tylaa is actively working on creating music while entertaining with...
As a child growing up in South-east London, Skyla Tylaa had a natural affinity for the arts. Whether it was music or stage performances, she found herself exploring these interests intently from a young age. That devotion manifested in multiple ways – her attending the BRIT School and Sylvia Young Theatre School where she performed in a West End production of Annie or her fiddling with several musical instruments while she figured out her creative identity. Through it all, music was a constant, the backdrop to her home life where she grew up between Jamaican and English influences. She remembers being exposed to Drum & Bass, Funky House, and Garage. “I think that’s had a big influence in my DJ career,” Skyla Tylaa admits.
Progressing into adulthood, those musical influences persisted even if she didn’t always engage with them professionally. Things changed when she started DJ-ing during the COVID-19 pandemic. Possessed by a visceral desire to experience the euphoria of interacting with people through music, she burrowed deeper into DJ-ing. “I couldn’t be in my room and just have people commenting,” she recalls. “I need to see people’s energy, and feel everything in the moment.”
Since then, she’s enjoyed a meteoric rise that has taken the world by storm. Mentored by DJ Tunez, she performed multiple times on the American leg of Wizkid’s ‘Made In Lagos’ tour and came out of the experience raring to go. “Opening for Wizkid on his tour was a transformative experience,” she says. “It taught me a lot about resilience and adaptability in my craft. I was still pretty much a start-up DJ when I went on tour and it made me really realise how important it is to connect with the audience. Touring from city to city with different crowds, it helped me to learn how to read the room and keep the vibe going.”
Almost as importantly for Skyla Tylaa, Rihanna was present at one of those tour stops and was impressed by her set, stopping by after the show to congratulate her. “After that I felt like I could conquer the world,” she says. Since then, she’s been selected by Rihanna to DJ at a Fenty X Puma Creeper launch event in London in 2024, marking a full-circle moment between the women.
Like Rihanna, Skyla Tylaa is inspired by music from the breadth of the Black diaspora, playing sets that take as much influence from the fervid restlessness of Hip-hop as they do the wavy melodies of House music, and the dancefloor summons of Afrobeats “I love partying! I genuinely love it,” she explains. “When preparing my sets, I’m always thinking of people having a good time. Whatever I can do to connect with them, I’m down to do it!”
In the last few years, few genres have shown the propensity for inspiring a great time with the regularity that Amapiano does. From Johannesburg to Windhoek, to Lagos, London, and New York, the log drums and mutating basslines of the genre have proven integral to a new Pop framework that is as amorphous as it is exhilarating. Since first hearing the genre while on a visit to Ghana years ago, Skyla Tylaa has been hooked. “It was the log drum, the sound, just the vibes that came with it,” she says. “I was like ‘wait – what is this?’ When you hear Amapiano, it’s one of those sounds that no matter what, you’re gonna dance.”
Diving into the genre, she’s picked up valuable lessons from important figures like Maphorisa, Uncle Vinny and Major League DJz while putting her youthful spin on the sound. It’s all coming together for the DJ who’s working with her sister, music heavyweight Jada Pollock, to figure it all out one step at a time. “When I found my passion for DJing, Jada was right there, urging me to dive into the ‘Made in Lagos’ tour,” she says. “I wasn’t sure I was ready, but she believed in me and knew I could handle it. My love for music has been with me since school; it just took some time for me to realize that this was the direction I wanted to pursue. Once I found my calling, her support became endless–she attended my early gigs and pushed me to perform at major festivals like Afro Nation.”
She’s since performed at leading festivals such as Wireless, Piano People and Australia’s Promiseland as well as selling out headline shows across London, London, and Ghana. For the next phase of her career, she’s actively working on creating music. This month, she released her debut single, “Bombshell,” a searing Amapiano banger that has all the hallmarks of a potential summer hit. “Bombshell” features Tanzanian Bongo Flava act, Diamond Platnumz, as well as South African acts, Tyler ICU, Khalil Harrison, and DJ Exit. It’s a blockbuster showing that sits well in the tradition of the genre. “The idea was initially played to me by Tyler ICU in March 2024,” Skyla Tylaa says. “He and I had a session while he was in London, and this was one of the ideas we worked on. Khalil was already on it, at the time, and I loved what I heard!”
After seeding it into her live sets last summer and starting live teasers with a dance challenge, Diamond Platnumz reached out about potentially working on the song and it was arranged. “I started teasing the new version of the song in my sets and then a whole new viral dance challenge came about online in December,” she says. “From that point, I knew the track had all the elements (features included) to be a big release in 2025 !” For DJ Exit, a chance to be part of a transformative song like “Bombshell” was an opportunity he didn’t want to pass up. “What drew me to this single was the chance to be part of something boundary-breaking,” he explains. “Gqom and Amapiano are both powerful in their own right, but fusing the raw, percussive energy of Gqom with the soulful, hypnotic swing of Amapiano creates a sound the world hasn’t fully experienced yet. This isn’t just another collaboration–it’s a cultural statement.”
The Xhosa word, ‘basazomangala,’ meaning ‘to be shocked,’ is uttered several times on “Bombshell,” and it reflects the message that Harrison was trying to pass on the track. ““Bombshell” is really about letting people know that there’s still so much more to come from me,” he says. “It’s a celebration of the present moment, but also a reminder that this is just the beginning. We’re all dancing to what’s happening now, but there’s an energy in the air that says the best is yet to come.”
In light of Amapiano’s rise to global prominence and the international acclaim it enjoys, Harrison is right about more things being on the horizon, and Skyla Tylaa agrees with him: “When I was introduced to Amapiano, I fell in love instantly and that time it was just on the verge of global appeal. It’s global now and still growing and that makes me appreciate it even more! I love it, and the world loves it! The feeling is mutual ! We can all enjoy it together!”
For Tyler ICU, having DJs from the diaspora like Skyla Tylaa engage with Amapiano and its culture is a win for the genre. “This shows the power of the genre–it’s not just a sound, it’s a movement,” he says. “When someone like Skyla, who appreciates the culture and brings her own flavour, plays Amapiano in places like London, New York or Toronto, she’s not just playing music, she’s building bridges. That’s how we grow–by letting the world feel it in their own way, but staying true to where it started. It’s important that the roots are respected, but the branches can reach far.”
Just a couple of weeks since its release, “Bombshell” has crossed over 650,000 thousand views on YouTube and continues to be a sensation on TikTok. Like everything Skyla Tylaa has done up till now in her career, it’s shaping up perfectly and has shown that she has a knack for the right collaborations. She intends to keep making music. “This year, my focus is all about music,” she says. “I recently signed with Robots and Humans (Sony) in the UK and Epic in the US, which has given me a different level of drive to really want to create good music. I’m also looking forward to exploring the Afro-house genre and collaborating with other talented artists.”
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What OdumoduBlvck’s Greatest School Tour Could Mean For Touring In Nigeria
The rapper’s decision to embark on a local university tour of this nature could go on to become a...
There’s no denying that OdumoduBlvck’s 2023 mixtape ‘Eziokwu’ established his musical genius. While the half dozen projects that preceded ‘Eziokwu’ almost served as target practice, largely showcasing the early iterations of Okporoko music – his unique melodious rap fusion – it was his major label debut that truly grounded the rapper in Nigeria’s rich Hip-Hop lineage. The album’s far-reaching success culminated in a historic joint tour with fellow 2023 breakout star Shallipopi, which saw the two share the stage across 9 cities in the United States. Similarly, riding the high of his latest mixtape, ‘The Machine Is Coming,’ the Anti-World Gangstar head huncho recently announced a new tour. This time, however, instead of taking his new collection of infectious bangers to stages abroad, the rapper decided to visit different universities across the country for what he calls the ‘Greatest School Tour Ever.’
Touring in Nigeria is a subject that has become somewhat controversial over the last few years, splitting opinions amongst many fans, industry experts, and artists themselves. Back in the mid-2000s to early 2010s, local touring was very much the norm. Platforms like Star Music’s ‘The Trek,’ as well as a few prominent local promoters, enabled some of the biggest names like 2face, Olamide, and M.I to hold annual nationwide tours. These tours included stops in cities like Warri, Makurdi, Owerri and many other places that artists are less likely to visit today. University tours were also popular as they presented an avenue for these artists to connect with their younger audience, who mostly served as the bedrock of their fan base.
The rise of digital streaming platforms, which has partly informed the industry’s rapid evolution over the past decade, coupled with other economic and infrastructural issues, has, however, forced a sharp decline in local touring, making it an almost altruistic endeavour in today’s Nigeria. Afropop gaining global exposure meant that the international market immediately became more viable and lucrative to our biggest stars, and this reshaped their priorities. The extensive, multi-city shows became reserved for diaspora fans, while the local audience, in most cases, are treated to a solitary annual show.
OdumoduBlvck looks to buck this trend with the ‘Greatest School Tour Ever,’ prioritizing his primary audience before tending to those abroad. In truth, the Lagos-born rapper is not the only one who has embarked on this type of tour in recent times. A couple of years ago, UK-based rapper Kida Kudz and Ckay also went on similar campus tours, with the latter making stops at 10 different universities across the country. Llona, one of the breakout stars from last year, is also currently on a nationwide tour coming off the success of his impressive debut album ‘Homeless.’ The ‘Greatest School Tour Ever,’ is however, peculiar and momentous because of its timing and OdumoduBlvck’s standing as one of the biggest names around.
At the recent 17th Headies Awards, the rapper became the latest recipient of the Next Rated award, a highly coveted plaque that’s historically reserved for standout acts whose music defines the zeitgeist at a given period. He received the award just two days after he gave an electrifying performance at Afe Babalola University. His latest mixtape, ‘The Machine Is Coming,’ a precursor to his highly anticipated forthcoming debut, currently sits at the No. 2 spot on the Turntable Top 50 Album charts. It is unheard of in recent times: that the Headies Next Rated act, who has one of the top projects in the country, is on a local university tour. The Abuja-native has, however, shown on numerous occasions that he has never really been one to abide by existing standards. The famous opening lines from his breakout single “Declan Rice” (I can do without their Policy I Know), did not only serve as a message to gatekeepers and naysayers but also as a manifesto that declared his mode of operation going forward.
At the time of this writing, the rapper has only made two stops on his ongoing tour, but his decision to embark on a local tour of this nature already looks to be paying dividends. The first two shows have produced viral clips that capture his star power, the hysteria of his headline shows and his rapidly growing influence, especially amongst younger listeners. The viral clips have already created an increased demand for shows, with many young fans harassing the rapper to add more dates to the tour. With the release of ‘The Machine Is Coming’ and his recent crowning moment at the Headies, it’s safe to assume there’s more attention on him now than ever. While it is, of course, still early days, the rapper’s decision to embark on a local university tour, especially given that he’s currently experiencing a career high, could go on to become a significant moment, one that potentially inspires a shift in the touring landscape in Nigeria.
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NATIVE PREMIERE: Tanika Is Stepping Out On Her Terms With The Kida Kudz-Assisted “FAST FWD”
From working her way out of London’s Myatt’s Field, Tanika is now setting her sights on the bright lights...
Across a career that’s in its second decade, Tanika has proven to be a force in her own right, holding her own on collaborations with Black British stars like Stormzy and Wretch 32, as well as popular record producer Naughty Boy–working with the Grammy-nominated beatmaker on his acclaimed ‘Hotel Cabana’ album.
Following a stint as an actor, she returned to the studio in 2021, releasing a new extended play, ‘333,’ in 2023. The project carried all the hallmarks of Tanika at her tantalising best: lilting cadences, well-paced narratives, a songwriting that reaches for the heart of the matter.
On her latest song, “Fast Fwd,” she’s growing into her own and stepping into a new era. In many ways, “Fast Fwd,” a hypnotic, sultry anthem, is landing just in time for summer revelry. Produced by her longtime collaborator, Naughty Boy, her silky vocals land effortlessly on the mid-tempo instrumental and pulsates with her desire for her love interest.
Joined on the song by her fiancé, Kida Kudz, they make an interesting duo and replicate the synergy they had on “Nobody,” off Kudz’s 2021 ‘Top Memba.’ Distinctively marked by use of neon lights, the video for the song captures the effervescence of romance that Tanika hums about throughout the song.
From working her way out of London’s Myatt’s Field to becoming a star with millions of streams, Tanika is now setting her sights on the bright lights of superstardom. Ahead of the official release of the single, we had a brief chat with Tanika about her career, the influences for “Fast Fwd,” and working with KIda Kudz on it.
Her answers, which follow below, have been lightly edited for clarity.
How would you describe where you are in your career right now?
I’m just enjoying the journey.
What does the release of “Fast Fwd” signify for you?
It signifies love.
Why is Kida Kudz a fit for the song? (
To be honest, we didn’t plan to do another song together. I have worked on two records with him before (“Nobody” and “Tasty Time” ) but we never thought to shoot a video for it.. “Fast Fwd” felt like a real testimony of our present moment in the relationship.
You’ve worked extensively with Naughty Boy and he’s helped with “Fast Fwd,” what’s your relationship like and why does it work?
Naughty Boy knows me very well. We’ve known one another for over 10 years, so he knows what fits me musically. We gel. I think him knowing me and being a fan of Kida’s music made it all work. Naughty Boy does his listening before he makes a beat for you. A lot of producers don’t really understand the importance of knowing the artist musically but he does.
What were you aiming for with the video?
To be honest, I’m aiming for nothing. I’m just enjoying the journey. It’s been a very long road and I know I still have a long way to go.
Catch an exclusive view of “Fast Fwd” below.
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