Nota Critiques The State Of SA Hip-Hop Following Recent Album Releases
Nota Critiques The State Of SA Hip-Hop Following Recent Album Releases. In a candid and thought-provoking post on social media, renowned music executive Nota Baloyi has stirred the pot within the South African hip-hop community.
Following the release of highly anticipated albums this week, Nota Baloyi expressed his disappointment over what he perceived as a decline in the quality and impact of local hip-hop music. Baloyi’s critique points to the lack of hit tracks from these albums, stating, “3 SA Hip-hop albums dropped too much social media fanfare, but not even 1 potential hit song can be picked from either of them. That’s sadder than it is disappointing.”
His comments reflect a sentiment echoed by numerous fans and industry observers who have observed a shift in the musical landscape. The albums from Tony Dayimane, 25K, and Frank Casino generated considerable buzz and excitement on social media prior to their release, yet they appear to have fallen short of delivering the catchy, memorable hits that once characterized the genre in South Africa.
Nota Baloyi’s assertion that “the best of SA rappers is behind us” raises crucial questions about the current trajectory of hip-hop in the country. As the industry evolves, it faces increased competition from a variety of genres and a shifting musical taste among audiences.
In his post, the music executive urged artists and producers to acknowledge the changing times, suggesting that there are fewer talented rappers in the industry now compared to previous eras. “At some point, you need to admit that the best of SA rappers is behind us. Time to call it a day. The run is done!” Nota’s remarks reignite the debate about whether SA hip-hop is dead. While many rappers are tirelessly working to revive the culture to its former glory, the music executive’s comments seem to have driven the final nail in the coffin, particularly in light of the recent album releases.
Over the past decade, Nota has observed the rise of South African hip-hop, where he played a significant role in managing and producing hit songs for artists including Kwesta. During this period, the culture experienced an explosion of chart-topping tracks, with many album releases—most notably Kwesta’s Dakar I and Dakar II—achieving impressive chart positions. However, the rap scene is currently struggling to replicate the level of success seen during the peak of SA hip-hop.
With the emergence of new school rappers like Tony Dayimane, Usimamane, K Keed, Maglera Doe Boy, and Dee Kolala, South African hip-hop still has the potential to reclaim its former dominance at the top. However, achieving this will require significant effort and a bit of luck, especially given that hip-hop as a genre is currently experiencing a global decline, and South African hip-hop is not immune to this trend.
