Southern Africa has continued to innovate and assert its musical identity throughout the years. In Zimbabwe, veterans like Jah Prayzah and Winky D set the tone early, delivering dancehall infused with the timeless wisdom of icons such as Oliver Mtukudzi and Thomas Mapfumo. In Lesotho, scene leaders like Sannere and Ntate Stunna kept audiences captivated, holding steady in an industry that can often be fickle.
Across the Southern African region, the trend favored singles and EPs over full albums, reflecting a global shift, but the output remains far from diminished. Eswatini’s iYA and Sarnilo released two standout EPs that linger in listeners’ minds, while Botswana’s William Last KRM teased what promises to be a major album in early 2026.
Meanwhile, South Africa led the charge, reminding us how to move, groove, and stay attuned to the music itself. And yet, in an era where social media chatter often frames first-week streams as the ultimate measure of relevance, one has to ask: where does that leave the art itself?
Regardless of the noise, artists continue to create, filling every possible channel with fresh, compelling music. Below are just some of the releases that refused to leave our ears this year.
Sannere - “Hoba Monna” feat. Selimo Thabane, Opublic'smba, Flash Cortez, Wave Rhyder, Marcx Brass (Lesotho)
Sannere kicked off the year by curating a magical line-up for “Hoba Monna,” a song that reflects the individual struggles of men navigating the world today. Each act delivers its sharpest verses, resulting in a striking snapshot of the country’s current musical climate. The track feels like a palette cleanser, throwing caution to the wind and earning widespread acclaim in the process. Sannere then spent the rest of the year dropping banger after banger, while still finding time to release his second EP, Sehopotso — a rare and special talent.
Sjava - “Uyena” (South Africa)
Sjava’s Inkanyezi was an unparalleled achievement in South African music when it dropped in February. The album is a collection of entirely new songs, none of which had been performed before the December 2024 show where they were recorded. Yet, listening alone doesn’t reveal just how masterful Sjava is at commanding an audience. On “Uyena,” he takes fans on a gospel-flavored roundabout, creating what feels like an out-of-body experience during live performances. Over the year, he sold out theatre shows, appeared in his friend Emtee’s one-man show in March, and collaborated with brands and corporates, from Omega footwear to his latest partnership with Passenger Rail Agency of South Africa. Inkanyezi 2.0 (Live) arrived in September, and Sjava already has 2026 mapped out, with the centerpiece being a celebration of 10 years of delivering nothing but hits.
Nisha Ts - “Admire Kadembo” (Zimbabwe)
Nisha Ts is one of the freshest talents in the Zimbabwean music scene, with a voice that hovers somewhere between the harsh realities of daily life and the soft corners we escape to recharge. On “Admire Kadembo,” the artist displays vulnerability and versatility as she confidently rides on the dancehall-flavored beat drenched in wailing saxophones that give the song its smooth edge.
Jah Prayzah - “Kuno” (Zimbabwe)
Jah Prayzah has carved out many musical bags in the many years he’s been active in music — he can twist and turn at any point to reveal a different side of his artistry. “Kuno” was the first release from his new album, Ndini Mukudzeyi. He digs deep to sing his heart out about love, legacy, and the bonds that remain unbroken after life has ended. It’s also an assurance to the one left behind that the ancestors see them and know them. Jah Prayzah’s a formidable artist.
Sarnilo - “Autumn” (Eswatini)
“Autumn leaves are falling, hear me out, I’m calling,” sings Eswatini-based artist Sarnilo on “Autumn,” the Tru Hitz-produced song that arrived just in time for the Southern African autumn, laying before us more seeds for the six-track Makuwahalala EP, which arrived early November. The artist uses her sultry voice to confess her feelings as she glides effortlessly on the song’s gospel chords. She takes us to church, baptizes us in the river of our own emotions, and leaves behind a bed of autumn leaves to guide us through our own spiritual transition.
Thope tse Khang - “Lerato” (Lesotho)
Lesotho’s Thope tse Khang are household names, celebrated for their daring lyrics and irresistible famo melodies. Fronted by the charismatic ‘Mantšali Hantši, the group carries forward the legacy of scene-setters like Puseletso Seema, blending tradition with a fearless modern edge. Their music challenges patriarchal norms with a sly, unassuming attitude, all while keeping listeners singing along. “Lerato,” taken from their second release since signing with Universal Music Group in 2024, appears on Ha E Lume, a four-track collection that captures everything fans have come to love about the group.
Ciza - “Isaka (6AM)” feat. Jazzworx and Thukuthela (South Africa)
“Isaka” is an undeniable banger. Since its release in April, the track has not only climbed the charts but also captured the hearts of dance music lovers, giving dance floors yet another reason to erupt. The Tarryn Tippens-directed video matches the song’s energy with lavish visuals, amplifying its allure and infectious groove, and cementing its place in the vibrant and ever-evolving landscape of South African electronic music. Then, came the remix packages: versions tailor-made for dancefloors in Miami, Berlin, and Accra arrived just in time for the European Summer, while a special one featuring Tems and Omah Lay arrived as August ended, pushing it even higher up the charts and transforming “Isaka” into a rallying cry for all booty shakers to hit the dance floor and let loose. Ciza’s star has been illuminating the entire year, and it’ll be interesting to see what he unleashes in 2026.
Brotherkupa - "Today Is A Good Day" (South Africa)
Brotherkupa's aura is currently unmatched. Alongside artists like Mfanatouchline and collectives like The Qwellers, he's ushering in a new era of jiggy raps and outlandish production that borders on disrespect in the best way possible. Here, samples are chopped, sped up, slowed down, reversed, and paired with buzzing 808s. It's an entire vibe. And the streets are responding: his fourth album, Before The Worst, shot to number one on streaming platforms upon release. Echoing the sunshine and glory of Ice Cube's 1992 hit. "Today Is A Good Day" is more than a statement — it's a lifestyle, a religion, and a way of life.
lordkez - "Aweh" (South Africa)
South African R&B is in a mighty healthy place right now, with new releases emerging left, right, and center across the burgeoning scene. lordkez, a staple of this sonic wave whose reign has blessed us with collaborations with Maglera Doe Boy, Bas, and Shekhinah, shines on "Aweh," which is a colloquial term for "yo" or "yes" The vibes are aspirational; the choreography by the inimitable Tarryn Alberts is on point, and lordkez’s command of the music elevates the track to another level. The song’s rise has been spectacular to observe: from its release in March to the TikTok boom that boosted its reach, and the Cassper Nyovest remix that sealed the entire deal, it’s been a rollercoaster year for the artist, one filled with revelations and affirmations of her dopeness.
Ntate Stunna - "Robari 2" (Lesotho)
With his debut offering, Sesotho Fashioneng, Ntate Stunna ushered a new age of Lesotho rappers, ones who drew from the innovations of both Famo musicians and rappers of an earlier time, such as Kommanda Obbs and Skebza D. The original "Robari," taken from that album, is a vivid tale of a robbery gone wrong. A series of unfortunate events leaves the protagonist at odds with himself, wondering how he'll escape a situation that now involves police officers. On the Flash Cortez-produced follow-up, Ntate Stunna disregards imminent danger and tries to negotiate with the hostages. "Toronko kapa mokhohlane/ ke re nka mpa ka baleha/ lebaka le nke keng ka tšoaroa, ke tsoile ka parole ene ha ke sa itlaleha, ("Jail or funeral/I'd rather run away/ I can't be arrested, I haven't been reporting for parole/")" he raps, as the cinematic soundscape elevates the song's impact. This is how you do a follow-up.
Killer T - "Magunje" (Zimbabwe)
In the animated video for "Magunje," Zimbabwean dancehall stalwart Killer T portrays an easy, carefree life. The song celebrates the finer things, luxuries, and pleasures that, while enjoyable, might still attract trouble with the authorities. Through a series of hilarious incidents, Killer T maintains an energetic flow that drives the song from start to finish, adding to its charm and playful defiance.
Voltz JT - "Medzai Fridge" (Zimbabwe)
Every track the Zimbabwean emcee Voltz JT touches turns to gold. With a voice that echoes the gravitas of rap's greats and a mastery of flow that stretches words, flips meanings, and reassembles them into nuggets of inside jokes, prophetic wisdom, and unapologetic badassery, he carries an entire scene on his back. "Medzai Fridge" (Shona for "put it in the fridge") is bass-heavy, raw, unfiltered, and impossible to ignore. Beware of the funk.
Tamy Moyo - "Unobhowa" (Zimbabwe)
"Unobhowa," meaning "you're tiresome" in Shona, is Tamy Moyo's latest offering to Zimbabwe's ever-evolving music scene. It carries the bounce of her previous releases, the grace that has sustained her journey, and the emotional punch that keeps listeners coming back. "I gave you all I have, but it was never enough," is a line no one should ever have to sing, but matters of the heart rarely play fair. The track captures the frustration of loving someone who constantly lets you down or grows emotionally distant, yet remains impossible to walk away from. It paints the portrait of a couple who can't go a week without arguing, while the singer struggles with the decision to leave or stay.
Cassper Nyovest - “Kusho Bani” (South Africa)
It’s been over a decade since Cassper Nyovest crashed into the mainstream with “Gusheshe,” and in that time, he’s remained one of South African music’s most polarizing figures. He’s filled up stadiums with his self-curated shows, launched a successful liquor brand, and undergone a spiritual transformation. Now, with “Kusho Bani,” he returns to form, firing back at doubters and reminding the game of his staying power and knack for crafting hits. The song has introduced a new language to the cultural lexicon; “hosh kharamima,” a phrase that appears in the song, is used by lovers across the board to express their admiration for their significant other. He’s making the case for longevity with the current phase he’s on: no conversation about South African music is valid without mention of his name, and he’s become the go-to rapper for artists who need to make a big splash in the mainstream.
iYA - "Before I Go" (Eswatini)
Emerging in 2022 from the fertile musical ground of the Kingdom of Eswatini, where country, hip-hop, folk, and electronic sounds mingle freely, iYA is a hidden gem. On I Feel Deeply her emotionally charged debut album co-written with Manana, her voice feels weightless and grounded at the same time, carrying the kind of presence that silences a room. The spaces between her lyrics speak as loudly as the words themselves: breathing, pausing for effect, echoing with something eternal and something agile and unbroken. "I will learn to learn to use my head," she sings, a cautionary reflection on love gone wrong, a vow to break the loop of old mistakes. "Happiness is ancient news / I swore I'd follow my heart," she wails later, her voice stretching between heartbreak and hard-won clarity. iYA is a rare kind of artist, possessing a vulnerability that demands your attention.
Jinji Boolin - "Umdali" (feat. Ovuyonke) (South Africa)
On the biggest release of his career so far, South African producer Jinji Boolin teams up with one of the country's best-kept secrets: Ovuyonke, a vocalist whose meditative range weaves ancestral harmonies into a sonic tapestry that bridges past and future. "Umdali," meaning "The Creator," is a heartfelt letter to higher powers, an offering of gratitude for the gift of life despite all odds. This is a potent, culture-rooted sound. The track rests on a folksy guitar loop, anchors itself with a deep, resonant bassline, and lifts off with delicate string flourishes that carry the listener above the clouds. Haunting and transcendent.
Mufaro - "TIWYW" (Zimbabwe)
Zimbabwe-born and Netherlands-based artist Mufaro’s pursuit of sonic perfection knows no bounds. Her textured voice carries the weight of countless ancestors before the first note even lands. On “TIWYW,” she sends out signals of freedom and redemption, blueprints for revolution. “This is what you wanted all along,” she repeats, the refrain gathering momentum with each cycle, stretching the song’s melodic and rhythmic dimensions. It’s a masterclass in control and transcendence.
William Last KRM - “KoRoBeLa” (Botswana)
William Last KRM has cultivated a distinct visual and sonic language that consistently pays homage to his home country, Botswana. His work fuses unfiltered comedy with the raw, unmistakable flair of pantsula aesthetics — as heard on tracks like “Tinto” — while doubling as an affectionate archive of place and memory. On “KoRoBeLa,” he elevates this approach, memorializing late national icons such as rappers Sasa Klass and Dramaboi, all while maintaining his signature style. Musically, the track drifts between the buoyant pulse of kwaito and the melodic warmth of bubblegum pop, anchored by his laid-back, conversational rhyme delivery.
Lowfeye - “Mission Man” (South Africa)
“Mission man, I go 007 for the bag,” are the opening bars to yet another undeniable banger by Lowfeye. He has his foot firmly on the pedal and is accelerating at breakneck speed. This rap thing is whatever for him, but much like taking a breath or drinking water, he has to do it consistently and do it well. The rhyme schemes are sensational, and the subject matter is exceptional. He plays games with words and always wins. He name checks the hoods in his Durban locale, from Umlazi to Inanda, Umhlanga, and beyond, takes shots at the haters who hate to see him shine, and generally wipes the floor with at least three-quarters of the South African rap scene just by opening his mouth. This is a class, and Lowfeye conducts it at the highest level.
Mushiva - “Jet Man” (Namibia)
Mushiva’s Turbo Summation may have flown under the radar, but it stands as one of 2025’s finest releases. The Namibian emcee weaves a tapestry of life experiences on wax, flexing his lyrical prowess and bringing each story to life in the brightest, most vivid colors, thanks in part to production from the likes of Becomingphill and Skimmed Milk. “Jet Man” drips with the kind of indulgent excess that defined the 1980s, spinning a story about a girl with a line that immediately captivates: “She had a face like a million stars shining at the same time.” From that moment, Mushiva guides the listener through a cinematic tale, painting every detail with precision and flair.
Titose - “Falling” (Botswana)
Botswana’s Titose is a revelation. A masterful songwriter, her voice is both enticing and grounding, carrying an edge that navigates the space between the sacred and the profane. On “Falling,” she bares her vulnerability, confessing to being utterly captivated by a suitor and completely powerless in the face of her emotions. “Yes, it’s true that I’m falling for you,” she admits, her declaration winding through a maze of desire and uncertainty, wrapped delicately in a ribbon of sweet, irresistible harmonies. The song captures the thrill and fragility of surrendering to love, painting intimacy in shades both tender and bold.
Chymamusique - “Don’t Wait Till I’m Gone” (feat. Poizen, Earful Soul, Lilac Jeans, Diamondancer) (South Africa)
Chynamusique emerged with one of the best deep house albums this year, the twelve-track Musique Collaborated. Then, shortly afterwards, he and fellow deejay and producer, DJ Poizen, were involved in a car accident. His friend didn’t survive, and Chymamusique has been in and out of surgery, recovering from an injury that nearly took his life. “Don’t Wait Till I’m Gone” offers just a taste of the brilliance he’s cooked up. The track showcases his talent for crafting unforgettable hooks and building moments that keep the dance floor moving, blending infectious energy with finely tuned production. It’s a song that stays with you as much as it gets your feet moving, and demonstrates his signature ability to marry the many disparate elements that make deep house what it is in South Africa and around the world.
Nanette - “Abazali” (South Africa)
Nanette’s talent is boundless. Though rooted in R&B, she moves easily between amapiano, hip-hop, and every flavor in between. On “Abazali,” she leans into her Afropop instincts, emerging with a bounty of melodies shaped into a heartfelt ode to her parents. “Zingane bo, lalela abazali benu / me be nitjela, suke ebhodweni” – hey kids, listen when your parents tell you to stay out of trouble – she sings, folding advice into a groove that feels as warm as it is wise. An ‘80s bubblegum sensibility hums through the track, carried by a warm, funky bassline, while Nanette’s voice remains pristine and unweathered, effortlessly riding the beat. “I wanted to make a song I could take back to my mom and dad, and they’d feel like it was something made for their generation […] Abazali is my love letter to South Africa, her elders and her children,” she said in a statement. It’s a bridge between eras, genres, and generations, one that only Nanette could build with this much grace.
Nasty C - “Leftie” (South Africa)
Newly free from his deal with the Universal Music Group, Nasty C is in full experiment mode. In the lead-up to his latest album Free, the rapper-producer tried on a string of unexpected roles: news anchor on The Dan Corder Show (where he spoke with precision about how Apartheid-era laws still shape daily life in South Africa), tattoo artist, barber, tyre shop assistant. Between these stints, he’s been tying up loose ends on the album and launching his own Tall Racks imprint. “Dlala Ngcobo” paired him with fellow Durbanite, Blxckie. The track has been buzzing online ever since fan-shot clips from its premieres in Durban and Johannesburg spread across social media. Its opening chant nods to Nasty C’s clan name, Ngcobo, and the crowd-fuelled moment became so central it made its way into the official recording. On the mic, few can match Nasty C and Blxckie’s chemistry. They’re sparring partners with relentless training: nimble flows, intricate internal rhymes, and a self-assuredness that turns every bar into a flex. “Dlala Ngcobo” is a showcase of technical mastery and homegrown swagger.
