The year 2025 saw a whole host of releases from the upper brass of the South African hip-hop ecosystem. From big hitters like Nasty C, A-Reece and Shane Eagle, to our beloved OG’s like Stogie T and Stilo Magolide – the year was fruitful. However, you know we have to show some love to up-and-coming artists in the game and we curated a list of some sleeper projects that dropped last year that we feel you should check out. In no particular order, here we go!
FlowaBoii – APEKiND
FlowBoii has been building his name in the game with a steady release of singles, with him even bagging a production placement on Dee Koala’s iiNtsikelelo. Last year, he released his debut offering, APKiND and what an introduction it was. The project has various pockets with each section showcasing what he has to offer to the game as an artist. This level of versatility will aid him in his pursuit of hip-hop glory. The particular section of the project that stood out to me was the portion where he gets introspective. I’m talking about songs like ‘BLUE’, ‘LIGHT’ and ‘MR HiTMAKER’. These songs see us really get to know the artist as he shares his innermost thoughts and experiences. These are the hallmarks of an artist who has potential for true staying power.
Yung Tyran – OFF CUTS: The Mixtape
In early 2025 Yung Tyran delivered a tape ironically called OFF CUTS: The Mixtape. I say this ironically because his off-cuts are better than the official releases of most artists I come across. Despite the tape being off-cuts, it carries a sonic unity that one would expect from an album. The sound of the tape exists in a smooth brand of hip-hop that we have come to expect from Yung Tyran. The subject matter of the tape is dense enough for the intricate listeners but at the same time, it is delivered in a way that is palatable enough for a casual listener who consumes music for the vibe it brings. Honestly, his execution is comparable to the that of some of the greats in the game right now. Standout singles on the tape include ‘BITTERSWEET’ with Ben September and ‘ICEMAN’ where his versatile traits are on display.
Lunatik – Press Play
There is something special about a producer led album. I think the magic lies in their abilities as curators. What made the project stand out was Lunatik’s ability to identify which artist would perfectly suit each song. No more was this present than on the second song of the project titled ‘Bank Roll$’ with Tony Dayimane and KindlyNxsh. The project also does a good job of introducing new talents to us as listeners with Press Play featuring artists like WAVE2ND,F eezy and LuMai, amongst others. While the project delivers songs that core fans would expect, it also offers up a level of variety with songs like ‘Nguwe’ with Zah McBgeba, Kwesta and Sir Trill as well as ‘Juice’ with Roiii and EeQue. Overall, this was a pretty diverse offering from Lunatik and it displayed his diverse sonic palette as a producer and his ear for composing music.
Kane Keid – Call U Back When I Make It
Kane Keid is an artist that I could say has solidified his name in the up-and-coming scene, building a strong following in his time in the game. Further building off the hype of his signing to Roc Nation on a management level, he released an EP titled NOT FAMOUS, however, I feel that his second release of the year, Call U Back When I Get Famous, was the stronger release of the two. Call U Back When I Get Famous has a unique level of depth to it and it offers up insights into Kane Keid’s personal life in a way that we have not quite experienced before. Don’t get me wrong, Kane Keid has offered up introspective narratives before but we haven’t heard it presented in this way. The songs carried a different level of musicality too. He diverged from his rapper stronghold and presented new stories with melodies and harmonies to match. Furthermore, a song like ‘get over it’ shows hints of experimentation in his music. We can only wait and see what Kane Keid will deliver going forward.
BELO SALO – wish on a $TAR+
BELO SALO’s wish on a $TAR+ is the deluxe version of the initial version of wish on a $TAR. In comparison to the initial version, the deluxe offers up a different level of experimentation in both its sonic presentation and BELO SALO’s vocal execution. Naturally, with experimentation, it might be challenging for some to lean into it on its initial listen, however, the mark of the greatest artist is being willing to push the envelope. With that being said, there are still moments on the album that speak to the BELO SALO of old, where he delivers what we know him best for. I could point to a song like ‘my WRLD’ that incorporates everything that makes Belo Salo who he is. Overall, I love how BELO SALO is actively pushing himself to find new pockets instead of living in his comfort zone. Remember, this is the same man who gave us CHOZEN REJECTboi
jaykatana – MAD MAX
There has been a lot of noise about the underground, and deservedly so. There are a few frontrunners in the underground scene and jaykatana is one of them. Last year, he released his highly anticipated project MAD MAX, to great reception. The project is dark and grungy, and carries an experimental hue in both its production and its overall delivery. One can tell that the jaykatana stayed true to his creative process of punching in, with each song feeling like a single rendition of its performance. Despite jaykatana delivering dark-spirited songs like the aptly titled ‘Mad Max’, there are moments on the tape where jaykatana deviates and produces songs that are in a lighter hue. Paired with that hue is a delivery that leans more towards a polished finish in comparison to his usual gritty approach. One can look to songs like ‘Hypebeast’ and ‘Eyes Roll’ to hear the growth that I am referring to and I hope that jaykatana can continue to produce these types of songs as I feel he will be alone in that lane of sound.
Flow Jones Jr. – GREEDY
Trap music has, what I would consider, an unfortunate narrative stuck to it. The narrative I am reffering to is that the sub-genre has a lack of depth and that is completely false. Nowhere in life has it ever been wise to paint everything with one brush stroke, and the same rings true for the sub-genre. Flow Jones Jr. has consistently proved why he is more than just a trap artist with him providing a level of lyrical depth in his music. Sometimes I don’t know if it’s his greatest asset or his achilles heel but Flow Jones Jr. delivers his inspirational verses in a way that is easy palatable. In fact, it might be too easy because you might miss what he is actually saying because you are carried away by the melodies and flows prevalent in his music. One thing that I have always admired about Flow Jones Jr. is that he never caps in the raps. He sticks to narratives and stories that are relatable to a casual listener and, most importantly, true to himself.
Khaya DoomAKU – I Can Rap
In the current state of the game, there isn’t necessarily a lot of space for a lyrical rapper. So, in order for a lyrical rapper to standout, they would need to do more than display their lyrical prowess. Khaya DoomAKU is as rap of a rapper as they come. Unapologetic in his craft, he stays true to what makes him who he is and that is an admirable quality in his music. Although he does have his moments where he laments his perceived lack of creativity in the game, he steers clear of being a bitter lyrical artist, rather than that, he focuses on showcasing what makes him a dope rapper. The standout song on the project is undoubtedly the intro song titled ‘Good Morning’. If he can continue to produce songs that showcase his song making ability, he will begin to attract a new set of fans because at the end of the day, the climate is what it is.
Rati$upremacy – PHOENIX
Before I go further, this user believes in Rati$upremacy. If I were an A&R looking to take on a wild card of an artist, then I would choose Rati$upremacy because she represents a complete artist. She has a clear look and aesthetic vision for each of her releases and she just oozes all sorts of cool. This is clear with each release she brings to the fold. From a musical point of view, she is truly bringing something unique to the scene. Her whisper-esque cadence complements her beat selection perfectly and underneath her effortless sound is a mirage of swag raps.
I hate labelling women as ‘female rappers’ because it kind of takes away from their shine. Rati$upremacy is honestly one of the most unique prospects on the scene right now and I look forward to seeing her development on the scene. I only hope she gets the support of the community.
Shouldbeyuang – Only The Saved
Shouldbeyuang released Only The Saved on the 31st of October, and I must say it is a well put together project. Overall, the project is dark in its presentation and Yuang’s energy matches the nature of the production. What is impressive is that at every juncture of the tape, Yuang understands how to perfectly execute each song. Never leaning too much into his flow, he balances his performances out with his lyrical ability. I think when it comes to this particular brand of trap, one cannot say that Yuang didn’t execute this tape well. I think the only criticism I would have of the tape is the differentiation between songs because it is a large offering. With that being said, there are songs where Yuang is at the peak of his powers. I would point to a song like ‘Jumpman’ that allows him to enter different cadences and switch up his energy. That is where you get the best of Yuang.
Babylowsk1
One can really tell when an artist starts to come into their own and BALVABABY is where Babylowsk1 is at the peak of his powers. From a flow perspective, Babylowsk1 sounds like he is floating atop the production on every song. So much so that I don’t even know which song is my favourite of the tape because they all have that unique pull to them. From a lyrical point of view, Babylowsk1 keeps things fresh and topical with bars that are easy on the ear, emphasising what trap is really about. You can tell that Babylowsk1 has grown confident in who he is from his aggressive ad-libs and change of cadence on a song like ‘TRAPMAGIC’. Iike I said, he is in his bag.
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