The Rwandan rap scene is booming with exceptional talent, touched and untouched. Some artists have gained the exposure they truly deserve, whilst others, who are just as deserving; are still pushing hard to align their bars perfectly enough so their light shines. We can’t explore the up and coming underground artists on the scene without paying homage to those that came before and fought their way into achieving mainstream success. So this piece will give you a glimpse into the recent past, present and future of the musicians with the nicest pens on the Rwandan rap scene. Without further adieu, let’s dive right in.

Bushali

Bushali, also known as the godfather of Kinyatrap, always delivers with consistent energy. He arrived on the scene about 3 years ago but only started blessing us with visuals last year. In Rwanda, it is clear that visuals play a big role in how the people consume music and so this has done big things for the trap star. But, before that, he had quite a recognisable niche, almost cult-like following amongst the youth. His self-organised shows always pulled substantial crowds, ready to mosh from the start to the end of the show. Mirroring their idols frequency. His collaborations with producer Dr. Nganji on his earlier projects such as “!B!HE B!7”, seemed to have been a great way for him to evolve musically. In his song ‘Mukwaha’, we hear him claiming his territory and putting anyone who challenges him in their place. We see him and his boys almost daring anyone to try them. And with a pen like his, I doubt anyone will. His respect has been duly earned.

Kivumbi

This Smooth Operator has managed to find a sweet balance between being an intricate, almost poetic rapper, to an overall well-rounded musician capable of creating banger after banger. His target demographic is genuinely everyone. King doesn’t shy away from expressing all sides of his existence. From touching on his experiences in love, to his ambitions, and so on and so forth. I think this is what makes him so relatable. He finds a way to humanise it all and brings us in with vibrations and sounds that keep you going back for more - for the honesty yes, but also for the pure sonic value. One can’t seem to get enough of his laid back style of rapping that still cuts deep. In his song ‘Hejuru’, King lets us know that he is far from mediocre and that he is on top of the game, which we can all agree it is not just bars, but facts. Numbers don’t lie, energy doesn’t either. He also mentions the importance in heeding advice from his elders - a sentiment that is very relatable across the board.

Angell Mutoni

This particular artist has occupied a space in the scene for almost a decade, ifnot more. She has managed to stay relevant because she has maintained integrity in her sound, message and delivery. One minute she can give us a sense that she is a true descendant of Lauryn Hill, with her mindful lyrics; the next minute she’s giving us a radio hit that empowers women or encourages the people to embrace life and enjoy the precious moments with the ones we love. One thing about Mutoni that is undeniable, is that she has stayed true to herself throughout her journey; and that is something anyone can look up to. In her song ‘Gold’, she reminds us of the therapeutic aspects behind making music during a live recorded session with the band S.T.O.R.M. A beautiful harmony of sounds from a group of talented instrumentalists working effortlessly together on bass and electric guitars as well as a keyboard. She draws us in with her reflections and encourages us to meditate on our highest selves. A beautiful collaboration that epitomises her role in the scene as the poetic rap queen.

Manzi Fleur

The people and the scene seem to be significantly excited about the trajectory of this donny right here. The way he combines musical influences from different cultures so effortlessly is something that has to be admired. From ‘Barcelona’, to his most recent drop ‘Black Puffy’ - we can see this man has his ear to the ground and really great taste in music ranging from Spanish/Latin influences to a ScHoolboy Q, Kendrick Lamar-esque style, reminiscent of the TDE era. The most unique thing about his delivery is his subtle lisp that adds to the flavour of his creations. If there was a rap yearbook, he’d be named the most likely to blow up. Putting Rwanda on the map &  overall success is on the horizon for this artist. And if he continues to be this consistent, it might just be right at the end of the pen in his fingertips. In his song ‘Black Puffy’ featuring another notable wordsmith, Sema Solé, they talk about taking charge and securing the bag. Something they believe is long overdue. The repetitiveness of the hook shows that a statement is being made and we hear them loud and clear. It also doesn’t hurt that it’s so catchy. 

Capital Linda

Capital Linda just screams clean. So fresh & so clean. From observation, she sounds like someone who knows herself and it reflects in her music. She doesn’t shy away from telling the people her flow is cold - which it is. And that confidence is infectious. One thing that is also very noticeable is her articulation. Every word is annunciated and heard with such clarity that it’s almost like we're with her, looking at her vision through the same lens. Her lyrics are very cerebral and her rhyme scheme is in pocket, always on point. One of the dopest things about her is her presence in the Underworra collective as the only female emcee. Even as she stands alone, she dominates. In her song ‘Booze’, Linda takes us on a journey through one of those drunk nights, painting a vivid picture with a lot of imagery that takes us to that place in her mind. We see a switch in the frequency being clear at first to getting a little blurry which was a smart mixing strategy on their part, as it further epitomises the evolution of that drunken state. Her rhyming pattern and technique is also super impressive and shows her elite penmanship.

Mazo

Another notable member of the Underworra collective is Mazo. Mazo reminds me of cyphers in the park with the homies rapping over Tribe Called Quest type beats. His ode to old school hip hop is a clear theme in his recent drops ‘It’s Like This’ and ‘Look of Love’. It’s nostalgic and reminiscent of times when rap was not a game; and if it was - it would be chess and you better be the one calling checkmate at the end. What is unmistakable is that his drive and more years of experience, has led to an inevitable evolution in his storytelling and the conciseness of his bars. He epitomises hard work and consistency and is a solid representation of what working with a team of people you love can do for you, both professionally and personally. Passion has brought him to where he is today. It will certainly be interesting to see what line-up he’ll be featured on 5 years from now. In his song ‘It’s Like This’, Mazo displays his abilities through crisp wordplay; and quintessential to old school - a lot of metaphors are used. In his own words, that boom-bap hip hop style comes through very explicitly and is sprinkled with a little flexing from the emcee who pays respect to his collective.

Sema Solé

Sema Solé seems like that extremely hands on artist that finds solace in spending hours in the studio experimenting with sounds. We see this in his well-received iBururu project on songs like ‘Bwije (Interlude)’. His blend of Kinyarwanda and English is done with finesse and shows his skill level. We can see how attached he is to his roots. He has managed to forge his own lane because his flow, style and cadence is one that can only be associated with him. On his song ‘iBururu’, for instance - he embodies a sleepy man sounding style and his delivery is neutral and sustained. ‘Kama’, however, is probably his most popular song where he talks about the struggle he faced in his early days as a rapper, escaping to the studio and the standard brokenness in the early days of pursuing his music career. This transforms into him developing his writing skills and shocking everyone with his abilities. Now that pen to paper is paying bills, showing that at the end of the day - resilience pays off.

Logan Joe

Logan Joe has to be the new favourite on the scene. He manages to produce banger after banger while still maintaining finesse and substance in his craft and delivery of said craft. On his song ‘NJYEWE UTAZI’, Logan Joe addresses his concern for his woman as he feels she is on edge and not trusting him entirely. On the other hand, it’s dusted with his own fear of loss and fear of loving at the same time. Teetering on the fence and touching on that well-known ‘fear of commitment’. Nevertheless, he asks her to put her worries aside and trust that he will do everything in his power to care for her in a real way and ultimately treat her right. A true trap love letter.

B-Threy

B-Threy is a true, well-rounded artist. He puts time and thought not only in the music he creates, but in the visuals he puts out to accompany the sounds. From going through his catalogue, it’s evident that he has the potential to occupy any genre or musical space. On his song ‘Didn’t Know’, he and Kenny K-Shot (another rising star on the scene), give us another taste of what trap love songs sound like. They are both appealing to their significant others and pleading them to forgive them for not being present; while exposing them to their hectic lives of  fame - including keyboard warriors always having something to say, inevitably hurting them in the process. They mention being apologetic for the chaos within their lifestyles and how that may lead to them neglecting their loved ones when they’re trying to reach them. They managed to convey a level of vulnerability that is rarely portrayed in trap songs and we love to see/hear it. Trap stars need love too.