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Should South African Rappers Be Censored in 2025? BabyDaiz vs SAHRC Sparks Heated Debate
The South African rap scene is once again at the center of controversy. Rising star David Manda, better known as BabyDaiz, is under investigation by the South African Human Rights Commission (SAHRC) over his track Allez Tobina, which allegedly contains racial slurs. The move has reignited a national debate about freedom of speech, artistic accountability, and whether rappers should face censorship in 2025.
The controversy has the streets buzzing and conversations heating up on radio stations like YFM and 5FM, with fans and industry insiders split over whether BabyDaiz crossed a line or if the investigation is a crackdown on hip-hop culture.
Industry veteran Slikour jumped to the young rapper’s defense during an interview on YFM, stating:
“It’s unfortunate that the younger generation is paying the price for the country’s inability to invest in its heritage and history, like other countries such as Germany.”
Slikour’s comments raise important questions about South Africa’s role in empowering youth through culture and history, rather than punishing them for expressing it.
The debate draws parallels to the struggles of Prophets of Da City (POC). Their 1993 politically charged album Age of Truth saw 15 out of 21 tracks banned on SABC radio under apartheid. While the regime tried to silence them, POC’s music became a soundtrack of resistance, inspiring generations to speak out through hip-hop.
Now, with the SAHRC investigating BabyDaiz under the Equality Act, fans are asking: are we witnessing history repeat itself? Is the younger generation being unfairly targeted, or is the commission simply protecting equality?
Mzansi rap fans remain divided. Some argue that BabyDaiz’s lyrics went too far, while others insist that censorship stifles creativity and threatens the rebellious spirit that defines hip-hop culture.
The real question remains: is the SAHRC safeguarding equality, or is this yet another attempt to silence South African hip-hop?
Stay tuned to SAHipHop247 for updates on this story.
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.”
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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.
Stogie T has officially revealed the tracklist for his highly anticipated album “ANOMY”, and it’s already shaping up to be one of the most talked-about releases in South African Hip Hop this year.
The project is 12 tracks deep, boasting a stellar lineup of features including FLVME, Thandiswa Mazwai, Maglera Doe Boy, and Maggz. But what’s really got fans talking is track 11, titled “Four Horsemen” a powerful collaboration between Nasty C, A-Reece, and Maggz.
This marks one of the most unexpected yet exciting team-ups in recent memory. Given the history between A-Reece and Nasty C, both celebrated for their lyrical mastery and regarded as two of the most influential voices of their generation, this feature feels like a milestone moment for SA Hip Hop.
With Stogie T leading the charge, “Four Horsemen” promises to be a lyrical showcase that bridges eras and styles, merging veteran storytelling with youthful precision.
“ANOMY” drops soon, and if this lineup is anything to go by, listeners can expect a project rich in bars, reflection, and cultural weight.
A New Voice Rises from the Silence
Listen up. We got a name you need to clock: Psyphr LXRD (that’s “Sy-Fer Lord,” if you’re asking). This cat ain’t tiptoeing in; he’s stepping into the spotlight with his debut project, ‘Confession Tapes’—and trust us, this is a whole sonic diary.
Forget the usual flex and floss. This ain’t just another trap-soul drop; it’s a testimony. Every kick, every verse, every whisper is dripping in vulnerability and raw power.
“Every track is a truth I couldn’t say out loud — now it’s on wax.” — Psyphr LXRD
That line alone tells you everything. He’s putting it all on the table.
The Sound: Dark Soul Meets Sharp Pen
What can you expect? Think melodic soul getting a gut-punch from sharp lyrical intensity. You’re gonna get those heavy, dark 808s, those haunting vocal layers, and stories ripped straight from the messy pages of life and healing.
Joints like “Tempted” and “Midnight Confessions”
Every song is a confession—unfiltered, cinematic, and deeply human. Get ready for the truth.
The Tape: Confession Tapes Tracklist
- Intro – The Message (Welcome to Confession Tapes)
- Late Texts
- Tempted
- You Don’t Play Fair
- Body Language
- Too Honest (ft. PBBLS RAE)
- Fever Dreams
- Midnight Confessions
- Toxic Prayers
- Outro – The Call That Ended It
Presave Now – Don’t Get Left Behind!
💽 Debut Album: Confession Tapes 🎧 By: Psyphr LXRD (Sy-Fer Lord) 👉 Link Up Here: https://play.mw.fm/confession-tapes
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