The term underground occupies contested terrain in the modern era. Back in the nineties, it was used to describe a distinct sound, subculture, or way of being — often marked by aesthetic rebellion and opposition to the mainstream — but its boundaries have since become increasingly blurred. Today, underground is less about sonic markers and more about a sensibility: an attitude that privileges independence, experimentation, and community over commercial validation. It echoes the DIY ethos of punk rock — self-produced music, homegrown networks, and grassroots audience-building — yet adapts that spirit to the digital age, where artists can exist both within and outside traditional industry structures at once.
But the history of the word stretches beyond music. Its roots lie in the countercultural movements of the 1950s and ’60s: underground cinema, underground press, and other creative insurgencies that prioritized experimentation and artistic freedom over conformity and profit. In that sense, underground exists today less as a place than as a commitment to creating on one’s own terms. There is a range of artists across genres who conform to this.
Brotherkupa (South Africa)
Brotherkupa celebrated his twentieth birthday by releasing a six-track EP featuring appearances by regular collaborator Jaykatana, as well as Blxckie and K1llbrady. Titled ?, it gives us more of the bass-heavy, subaltern sonics the artist has come to be known for, and arrives five months after Before The Worst, which gave us “Mali” and “Cure Me,” gems that will sustain until summer’s over. Over the past two years, Brotherkupa has cemented his place as a distinctive voice within South African hip-hop, cultivating a cult following through his Worstfeelineva mixtape series and a growing list of production credits. His fingerprints can be found on some of the scene’s most kinetic releases, from Lowfeye and Lacabra’s moshpit-ready “Khukhumele” to Blxckie’s glossy “Sunroof.”
Mfanatouchline (South Africa)
One of the most exciting shifts in South Africa’s electronic music landscape right now is the rise of young producers who sample popular hits as a way of reimagining how they might sound in the present era. Among them, Mfanatouchline stands out for his range and inventiveness. His rework of Musaria and Saturna’s “Moment” (Atjazz Vocal Mix) transforms the classic into a synth-heavy, motivational mantra titled “Live in the Moment.” But it was the release of “Di’kota Tsa Swervo” at the start of the year that truly cemented his reputation. Following a string of SoundCloud-only drops — including February’s Utlwa Sefela, which was uploaded and later removed from streaming services, presumably due to uncleared samples — the track cut through the noise, resonating across TikTok and Instagram and earning him a steady performance schedule. His raps are equally adventurous, oscillating between sublime and hilarious hood narratives (“Kasi”, “Tom Brady”), addiction confessions (“Mriyana Le Madice”), and dreams of a better life (“Prada Le Balenciaga”, “Italia”). In early September, he quietly released B4 Utlwa Sefela Vol. 2 as a SoundCloud exclusive, a placeholder for the much-anticipated follow-up to Utlwa Sefela.
Kujenga (South Africa)
Kujenga’s ethos is grounded in the politics of resistance that shaped much of the older generation of South African jazz musicians. The band regularly performs at gatherings that draw attention to atrocities in places like Palestine, the Congo, and Sudan, using music as a bridge to communicate global injustices. Over the years, they’ve built a thriving artistic community in their home base, Cape Town, that extends across South Africa and, increasingly, beyond its borders. Just this past weekend, they delivered a scene-stealing performance on the main stage at the renowned Rocking the Daisies festival, later joining Earl Sweatshirt for a special rendition of his Hugh Masekela-sampling track “Riot!” Their politics are also rooted in the pan-African realization that all of our struggles are connected, which is part of what informs the vision for the Afrobeats-flavoured dynamic of their recent double-single, Ransome.
Gaborone Fancy (Botswana)
At the beginning of the year, Botswana’s Gaborone Fancy released the evocative and highly tantalizing Gaborone Fantasy, a record that immediately marks him as a top-tier artist and multi-instrumentalist to watch. Across eight meticulously crafted tracks, he demonstrates a deep command of sonic textures, seamlessly weaving influences from across the musical spectrum into a cohesive whole. On the jazz-inflected neo-soul of “Tlhokomela,” Nikki Dymondz and Ayanda float effortlessly atop a lush canvas of guitars, horns, drums, and some of the most sublime basslines, creating a track that feels both intimate and expansive. Meanwhile, “Da Feelin’” brings a sunnier energy, with reggae-flavored rhythms and the charismatic interplay of daboizalifa and Ayanda, proving that Gaborone Fancy is equally at home in grooves that sway and shimmer as he is in more intricate, harmonically rich arrangements. Every element of Gaborone Fantasy feels intentional; the album has been thought through, digested, and distilled into its most essential moments, with Ayanda’s voice anchoring seven out of the eight songs, providing a throughline that grounds the record even as the instrumentation shifts effortlessly between jazz-inflected neo-soul, sun-soaked reggae, and soulful grooves. There are no extras, no filler, just a carefully arranged collection that stretches from the introspective to the effervescent, and one that displays a range as wide as any contemporary release.
Baba Kush (South Africa)
On his latest album, Why God Gambles, Baba Kushi positions himself at the centre of a meticulously crafted sonic universe, shaped by some of the most promising names in South Africa’s underground hip-hop scene. Production is expertly handled by Oro Wa Afrika, Nightmare Henry, Tyson Sybateli, and Drty-Dnko, while features from Angelo Superstara (“Skhaftien”), Kijana Damu (“Mochina”), and Tommy Ills (“Ponzi Schemes”) add further layers of texture and perspective. The album opens with “Roll Of The Dice,” a track that immediately sets the tone. It begins with a sequence of audio clips — including a Nimrod Nkosi voiceover on the national lottery — before transitioning into a narrative reflection on the role of dice in the streets. Across the 14-track collection, Baba Kush examines dimensions of Black life that could easily read as fatalistic, were it not framed through the lens of Afro-pessimism: the idea that anti-Blackness is not merely a form of racism but a structural foundation of the modern world. Gambling becomes both metaphor and philosophy, a lens through which to understand the precariousness and unpredictability of life. As one clip puts it: “as in the game of life, at the tables, there are always winners and losers.” This duality — of risk and insight, of vice and wisdom — courses through the album, giving it emotional depth and an impressive intellectual weight. Complementing the music are striking visuals that extend the narrative, reinforcing the album’s themes and moods. Why God Gambles is a carefully curated work of art, crafted by one of the most consistent and compelling voices in contemporary South African rap.
Oriiginelle (Eswatini)
Eswatini’s hidden gem, Oriignelle, is an emcee’s emcee — an artist so assured in her stance that every verse and delivery feels deliberate, carefully measured, and fully committed. Her work resonates as intentional, sharply attuned to the cultural and musical moment, self-aware, and propelled by a relentless drive to surpass her previous efforts. She first caught our attention with the Zulu Mecca-featuring “Change,” a track that showcased her lyrical dexterity and capacity to inhabit complex emotional terrain. Since then, she has expanded her catalogue with the impressive Expensive Hunger EP, a collection that solidifies her status as a rising force in Southern African hip-hop. In May, she teamed up with Jay Jody for the liminal “Nguwe,” a tender exploration of the heart’s more delicate matters, further demonstrating her versatility and willingness to explore vulnerability in her music. A glance at Oriignelle’s social media reveals a series of collaborations and studio sessions with some of the region’s most accomplished heavyweights across genres, suggesting that she is strategically building a network that could elevate her to even greater heights. She leaves us eager with each release, anticipating what's next; she has locked and loaded in the chamber.
Sarnilo (Eswatini)
Sarnilo’s pen is lethal, her voice a dynamic landscape of light, shade, calm, intention, and innovation. Since her breakout with “Knock On My Door” in 2020, she has steadily built a cohesive and impressive catalogue that showcases both her technical skill and artistic range. Tracks like “Okondana,” featuring Sibu Manzini, are sublime, a masterclass in Afrobeats’ melodic and rhythmic sensibilities, while “Sharon,” with Zuluboy, is a magnificent homage to the elemental principles of hip-hop — the boom, the bap, and the bass — allowing Sarnilo to flex her emcee muscle and demonstrate that her voice is too versatile to be confined to a single lane. In 2023, she followed up with Chifunilo, a seven-track intervention that expanded on her already formidable foundation, blending experimentation with refined craft. This year, she has elevated even further: tracks like “Autumn” and “Different Dimensions” are nothing short of unreal, firmly cementing her presence in the scene and marking her as an artist to watch. Beyond releasing jaw-dropping music, Sarnilo continues to grow through expansive experiences — from songwriting camps to casually jamming with legends like Wyclef Jean — experiences that feed directly into the richness of her work. She is an artist whose trajectory is thrilling to witness.
Titose (Botswana)
Listening to Titose’s music is like watching flowers bloom in slow motion: each note unfurling with care, each verse revealing new colors and textures. She expands entire universes with her sound, committing emotion to song as though the weight of the world depends on it. Her voice is at once endearing and intoxicating, effortlessly commanding attention and refusing to be ignored. Her latest single, “When It Comes To You,” evokes the sound and scent of rain after an impossibly long and arduous day. It’s a balm for frayed nerves and weary hearts alike. “When it comes to you my baby, there’s nothing I won’t do my baby,” she croons, while the drums roll in thick and fast, melodies drift like wisps of cloud, and harmonies twist and bend in dimensions seemingly beyond our own. It’s music that feels intimate and cosmic, tender yet immense. “Falling,” released in August, offers an equally mesmerizing experience. Effortlessly navigating the space between R&B and trapsoul, the track wraps the listener in a romantic, languid embrace, making every word and note feel essential and perfectly placed. Divine.
