South African music commentator and outspoken media personality Nota Baloyi has once again sparked debate within the local hip-hop community, this time turning his attention to the commercial legacy of A-Reece.

Speaking during an interview on Piano Pulse, Nota questioned whether A-Reece has ever delivered a true mainstream hit record, despite the rapper’s undeniable consistency, loyal fanbase, and strong streaming presence. According to Nota, popularity and artistic respect do not automatically translate into chart-topping dominance.

“A-Reece doesn’t have any hits. In his ever, ever, he doesn’t have a number one song. It’s the truth,” Nota said. “He has nice big songs, good songs like ‘Mgani’, but that’s not a ‘Roll Up’ by Emtee.”

To drive his point home, Nota referenced Emtee’s 2015 breakout single Roll Up, widely considered a defining moment in South African trap music. Released under Ambitiouz Entertainment, the same label that once housed A-Reece, “Roll Up” enjoyed massive radio rotation, topped major local charts including YFM’s hip-hop rankings, performed strongly on iTunes rap charts, and later achieved triple platinum status through RiSA after surpassing 500,000 downloads. The song also won Song of the Year at the 2015 South African Hip Hop Awards and helped reshape the sound of local trap at the time.

Despite the criticism, Nota did acknowledge A-Reece’s strength in other areas. The Pretoria-born rapper has proven himself as a dominant force in the streaming era, with projects consistently debuting at number one on Apple Music and Spotify in South Africa.

His 2025 EP Business As Usual reached number one on SA Apple Music in under nine hours, placing him among the fastest-rising acts of that year. Earlier releases, including P2: The Big Hearted Bad Guy from 2023, also debuted at number one locally. Across platforms, A-Reece ranks among the most-streamed hip-hop artists in the country, with songs like “Paradise,” “Mgani,” and “The 5 Year Plan” amassing millions of plays. He also remains one of the most consistently booked performers in the genre.

Nota further touched on live performance dynamics and booking politics, suggesting that shifting momentum among artists plays a role in who occupies major stages.

“Why is A-Reece at Milk and Cookies and not Young Stunna? Because Young Stunna has fallen off right now,” he said, referring to Young Stunna.

Milk and Cookies, a popular live music platform hosted in cities such as Johannesburg and Cape Town, is known for showcasing high-profile local and international talent. Nota’s remarks suggest that A-Reece’s continued presence at such events reflects his sustained relevance, while also pointing to a temporary dip in momentum for artists like Young Stunna, who previously dominated amapiano and hip-hop crossover spaces.

As expected, Nota’s comments have divided opinion online, reigniting the long-standing debate around what truly defines a “hit” in the modern streaming era: chart positions, cultural impact, longevity, or fan loyalty. For many fans, A-Reece’s influence goes beyond numbers, while critics argue that undeniable mainstream moments still matter in shaping legacy.

One thing is certain: the conversation around A-Reece’s place in South African hip-hop is far from over.

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