The lockdown has proven to be very good for us.
Whilst it is bad that we cannot go out and cover events as per tradition, staying in has allowed us to have time to fastidiously sift through things – separating hype from substance.
We have been observing what has been happening in the music space very closely.
As has become the trend in recent years, other genres outside of dancehall have found the going tough.
It has been so bad that though acts such as Bryan K, Taka Mukundu, Gwevedzi and Takue released very good albums, nobody has really bothered to listen.
Trevor D and Feli Nandi also had a dope offering and so is the case with Nyasha David but again because it is not dancehall it did not matter that much.
Nonetheless, one genre that has emerged strong in 2020 is hip-hop.
While a number of dancehall acts are going for singing vulgarities to get attention, most hip hop heads have maintained their cool and have still managed to turn heads.
By deftly weaving together thought provoking lyrics, rappers have delivered tracks that dissect what is happening in society.
This is something that the likes of Killer T and Tocky Vibes were known for back in the day.
A few weeks back we ran the article, Rappers that have made hip hop matter in 2020 and one of the attributes of those that made the list was the depth of their artistry as opposed to hype that comes with being produced by producer X or under stable M as is the case in the dancehall circles.
2020 has taught us that rappers have been working hard all these years’ but, the noise from the hype men across the road has been drowning most of them.
So what then makes the other genre pop and the other plateau?
Among other factors, it is all about money.
There are a lot of corporates and promoters who are willing to work with dancehall acts more than hip hop heads.
Not to say that Nash TV is at fault but just highlighting a trend, the new kid on the block could not announce her arrival on the scene in any other way than to incorporate dancehall by pushing a new riddim.
Shout out to them for doing so because Jah Master’s life will never be the same now.
But, what would have happened if say Crooger, R Peels and Kikky Badass were also given the space as hip hop acts?
One can only wonder because it was never awarded to them, but basing on what we saw at the just ended Shoko Festival, hip hop is no pushover mood.
Today we celebrate Jah Master collaborating with Tanzania’s Haitham Kimand we await the release of ‘Cat Walk’ which sees Uncle Epaton joining forces with another Tanzanian act, Rayvanny.
All this is happening because people are willing to put money in dancehall than hip hop.
However, if we turn the corner and we predict we shall soon do so; chanters will have a run for their money as the current crop of rappers have more depth than them.
Investments in the award-winning King 98 are proof that if given attention hip hop can rise in Zimbabwe.
