We’re back with another round of our year-end music review series. 2021 was a breathless year that left very little time for stillness as tragedies, events and our lives kept chugging along within the pandemic. The music industry was no different as it unleashed massive volumes of music that were impossible to keep up with. Amapiano alone felt like its music was on an unending conveyor belt as more alternative genres continued to pick up steam. The result of which is the most sonically diverse year of local music that I’ve experienced in my adult life. Next Gen Greats’ Songs of 2021 is here to document some of the highlights that left an indelible mark, on us particularly, in another 3-part series.
Disclaimers: 1) For the purposes of this article we’ve kept the choices to one selection per artist in a leading role with the exception of work that’s credited in a group or collaborative body of work. We stress that these are personal favorites and not necessarily what we think are the most representative songs of the year. If an artist dropped both solo work and group/collaborative work in the same time span, we’ve counted each effort as separate, ie this consideration would apply to acts like The Scorpion Kings or Adrienne Foo & Phiwo who dropped a collaborative tape etc… 2) Only works that were released between December 1 2020 – November 30th 2021 were considered; any December 2021 releases will fall part of 2022’s list.
Group 1 [Listed alphabetically, not in ranking]
Adiwele – Young Stunna featuring DJ Maphorisa & Kabza De Small [produced by DJ Maphorisa & Kabza De Small]
Young Stunna kicks off our list with one of the most appropriate tracks to bring in 2022. Not because it was one of the biggest songs of 2021 but due to the song’s aspirational and affirmative tone. Backed by a scintillatingly infectious piece of Piano crafted by the genre’s premiere producers, Adiwele finds Young Stunna claiming the life he wants to live whilst urging listeners to also join him in fighting for their own. The song finds him paying homage to Kabza De Small who he cites as having opened the doors for him, and now that his moment is here, Stunna is ready to attack it. Adiwele works as an ode to resilience that Stunna breathes incredible life into with his charismatic vocal. The song is undoubtedly a banger but it also serves a much-needed anthem for these tough times where resilience is needed for most of our survival. Young Stunna is proving himself to be one of the most charismatic newcomers into Piano’s ever-expansive culture, Adiwele serves as enough of an introduction as to why he is the moment for so many.
ASMAH – Yolophonik featuring Roho [produced by Yolophonik]
Our next pick finds us switching gears to alternative R&B with the soulful serenade that is ASMAH. ASMAH forms part of a growing list of collaborations between Yolophonik and Roho. Each of their collaborations have been brief ditties that inhabit strong emotional states from longing and infatuation to exasparation. ASMAH finds Roho diving into infatuation and the result is one of the giddiest displays of affection. Backed by a soulfully chill Yolophonik production, the song finds Roho divulging the effects his current partner, Kwesi, is having on him. This culminates in a gushing bridge where Kwesi’s name acts as a refrain against a number of affirmations Roho throws about them. It’s endearing, infectious and some of the lightest I’ve ever heard Roho sound on record. Just like the name it invokes, ASMAH stands as a bold proclamation of love that I enjoy returning to.
Listen to Roho’s Next Gen Greats Podcast here
ASMR – ByLwansta featuring Alisha Rosa, Rams & Some.Unique.Individual [produced by ByLwansta]
ByLwansta is one of the most compelling storytellers currently playing within hip-hop’s alternative space. One of his great strengths as a storyteller is his willingness to lean into quirkier territory without abandonment; ASMR is an exciting example of what that willingness can produce. Backed by his own tempestuously slinky production, ByLwansta brings us into a night of seduction he experiences with a girl he met last week. His verse is a first-person account of the night as it develops, with additional commentary that hilariously explores his thoughts and feelings as he’s with her. He dips into the concept of ASMR primarily through vocal production and Alisha Rosa’s vocal performance serves as the highlight of this exploration. Rosa provides a highly evocative and sensory vocal performance as ByLwansta’s foil, maintaining a performance that peaks when she’s cooing or practically at a whisper. ASMR is an entertaining listen where all the collaborators come to play. Some.Unique.Individual adds a soulful colour to the pot with his crooning and the song climaxes with Rams’ refrain that leads to the outro. It’s genre-bending storytelling that is humorous, engaging and enough of a tease to launch us into ByLwansta’s next era.
Listen to ByLwansta’s All That Yazz feature here.
Better Days – Miles featuring Adrienne Foo [produced by DoouShii]
2021 saw Miles dropping one of the warmer hip-hop records of the year with We Gon’ Be Good. The EP was filled with a litany of feel-good jams that carry an aspirational and hopeful tone, climaxing into the more emotionally complicated Better Days. Better Days better addresses why the project’s title reflects a future optimism; because his present is currently plagued by uncertainty and strife. The track is a soul-searching experience that finds Miles revealing a lot of insecurities he’s harbouring about his life choices and current circumstance. Whilst still feeling warm due to DoouShii’s breezy hip-hop soul production, Better Days maintains a wistful spirit throughout that shows the strain living within Miles. There’s something heartbreaking in hearing him say that he’s looking for the light that people say they always see in him. Adrienne Foo’s emotive chorus does allow a sense of reprieve but the uncertainty never really resolves itself. In that lies the magic of Better Days for me, it chooses to live in its insecurity earnestly. To keep going in-spite of it with the hope that one day things will eventually turn around.
Camagu – Benzo featuring Basetsana & Mark Akol [produced by Mark Akol]
The idea of a trap-induced reggae song delivered by a Xhosa rapper is a combination of elements that my brain had never imagined before, but is beautifully accomplished within Benzo’s Camagu. Off of iKumkankazi’s debut album, Camagu begins with the boisterous affirmations one has come to expect from a Benzo rap but her approach segue-ways more into singing as she’s expertly joined by Basetsana. Backed by Mark Akol’s progressive production, Camagu brings forth a religious and spiritual experience that works wonders under the backdrop of reggae. It’s a feel good song that elevates my mood every-time I hear it and serves as a bold proclamation of the type of versatility that Benzo may want to explore outside the realms of more traditional rap.
Green Sage – Zri [produced by Scarface Panda]
Our next pick comes from one of the youngest entrants on this list, the Pitori-repping Zri. The 19-year old is an alternative R&B artist with a humorously cheeky edge to him and Green Sage serves as a solid introduction to his talents. Backed by a sparse yet calming production, Green Sage reads like Zri bringing us into a day in his life. The actions in the song sound like pretty routine acts that get us to know him like driving through the city and burning sage but the magic is really in his delivery. Zri’s has an incredibly expressive tone which coupled with his often brash demeanor makes for really engaging listening; whether he’s singing fully-toned or adopting a rap-singing cadence. What this culminates in is a rather pleasant listening experience, that’s packed with personality. Still at the beginning of the journey, it’s really exciting to see what that personality rings out the more themes he chooses to explore but for now burn some sage and turn this up.
honeybee – MOONGA K. [produced by Greg Abrahams]
MOONGA K.’s a captivating storyteller who’s unafraid to play within emotionally awkward territory with honeybee extending his catalogue of such songs. The song is backed by an incredibly soulful production that becomes progressive as the song builds, but anchored by some of my favourite bass playing in this genre. MOONGA K. dives into a tale of unrequited love that darkens as the song goes. honeybee begins with him wanting to reveal his affections before jumping into the song’s refrain which reads “Please won’t you see me, won’t you be my honeybee won’t you see me…”. Thus far the song feels like the general anxiety one can have in revealing their affection until the second verse solidifies that the situation is a bit murkier than expected. Mid-way through that verse he exclaims “Why am I the only one putting in effort, it takes two of us to be successful” before moving back into his plea; all whilst never acknowledging if the person he’s singing about is even aware of what’s going on let alone an active participant. honeybee pushes the concept of unrequited love to the concept’s true uncomfortable edges as MOONGA K. commits to the concept with a dynamic vocal that travels from flirty and coy to desperate and frustrated. A commitment that continues to show how he’s one of the more adventurous storytellers living within our alternative space; one who knows just how to unravel.
Ikigai – Keenan Meyer [produced by BandaBanda]
Classically-trained pianist, Keenan Meyer released his debut album, The Alchemy of Living, in 2021. A lot of the pieces I listened to in Living felt like an interesting crossroads between South African jazz and classical piano, where both spaces felt in conversation and accessible to my ear; that was until I got to Ikigai. Ikigai felt like I was transported into more Eastern orchestral-influenced music with one of the most spell-binding arrangements I’ve heard within recent memory. The bright and light keys already distinguish themselves from the darker and more soulful keys that are sprawled throughout the record. The mixture of those keys, the swelling violins and the rumbling percussion makes Ikigai an incredibly serene listen that takes me to the riverside. My current problems are washed away with each swelling of the orchestra as I’m brought to a state of peace. It’s another mood-altering production from BandaBanda; whose work on Zoe Modiga’s TATA‘s also landed on my list last year and still serves as one of my spaces for mourning. It’s just world-class composing that I pray one day collides with our world of cinema. Ikigai and to a larger extent, The Alchemy of Living is one of my first steps into the world of contemporary classical music; and with such an introduction I look forward to digging deeper into the space as this comprehensive body of work that I’ve just discovered continues to keep me company. If Ikigai is Meyer’s accomplishment of the Japanese concept it invokes, I hope we get to hear more of these shades within his musicality as his catalogue expands.
Read more BandaBanda related content here.
Inhlupheko – Big Zulu featuring Mduduzi Ncube [produced by Gobi Beast]
Big Zulu has steadily carved a lane within hip-hop that allows him and his music to be as rootsy as he wants it to be. He can play within more contemporary sounds like in last year’s Mali Eningi to completely abandoning those sonics in Ushun Wenkabi; our pick finds him occupying a more afropop middleground with Inhluphekho. Inhluphekho find Big Zulu telling us the story of Gog’ Doris, a grandmother taking care of her granddaughter, explaining her situation of poverty and some of the things she goes through just to get by. Backed by a inspiration-inducing beat that feels both reminiscent and comfortable, Mduduzi’s chorus brings with it a gospel influence and the melancholic relief that heightens the effect. Inhlupheko is modest and unflashy storytelling portraying a more grim existence in ways that resemble a traditional blues song. It feels like it’s been a while since a style of rootsy hip-hop like this has occupied considerable space within the mainstream and I for one like its inclusion in what’s proven to be a really sonically diverse year for local hip-hop.
Read more Big Zulu related content here.
Insecure – Shekhinah [produced by Shekhinah & Michael Morare]
Shekhinah has consistently proven herself to be one of our premiere pop hitmakers. Her sophomore album, Trouble in Paradise, continued her streak with a cohesive listen that harbors one of my favourite pop songs of the year that is a deep-cut, Insecure. Backed by a shimmeringly reminiscent dance-pop production, Shekhinah turns introspective as she grapples with her insecurities and the loneliness that stems from the cycle she’s found herself in. Insecure is mainly self-talk as she ruminates; and those ruminations are so satisfying to listen to. The harmonies, vocal production and the beat’s relentless groove coupled with how catchy the refrains are send me into a dream state that repeats itself on loop. And just like Shekhinah, listening to it can make one feel like they’ll also make it through.
Read more Shekhinah related content here.
Khotso – Cassper Nyovest featuring Khotso [produced by Abidoza, Alie Keyz & Cassper Nyovest]
2021 was an interesting year which saw Cassper Nyovest extend the range of his legacy; from getting his first radio No. 1 and launching multiple brands to his I-still-cant-believe-it-happened debut boxing match that’s already lined-up its sequel. The scope of the Cassper story keeps growing, so it feels somewhat fitting that my pick is directly linked to the extension of legacy with Khotso. The opening track to his latest album serves as a tribute to his late brother Khotso, which is also the same name Nyovest gave his son. Backed by a soulfully mellow piano production, Khotso reveals an incredibly sentimental Nyovest reminiscing; delivering one of the most endearing performances I’ve heard from him. It’s a heartfelt and evocative tribute that I keep returning to that adds a welcomed soft layer to a chapter that is heavily focused on legacy.
Read more Cassper Nyovest related content here.
Ma’Dice – Wordz featuring Maglera Doe Boy [produced by Logical Rhymez & Feziekk]
Spitori rap has cemented itself as one of my primary vessels for experiencing gangsta rap. Even though I don’t know a lick of the dialect; it’s not hard to understand why that region is dominating the space; the delivery hits so hard. Wordz released one of the most engrossing hip-hop listens of 2021 with Product of a Praying Mother. Soulful, earnest and sonically rich, the project was a breakthrough success for the rapper; topping streaming charts whilst simultaneously receiving continuous acclaim, much like this, as a year’s best. Part of the acclaim came with his seamless introduction into vernac-rap and our pick is the song that inspired the transition: Ma’Dice. Armed with a beat that feels so desaturated it’s almost greyscale, Ma’Dice really provided a perfect canvas to aid the transition. The song finds Wordz and Maglera Doe Boy trading stories about how they grew up in the hood; with Wordz’ playing dice serving as the jumping point. With no vocal refrain, Ma’Dice is held together solely by the compelling storytelling on display by Wordz and Maglera, and both paint their stories in vivid details; showcasing why each is regarded as premiere talent within the rising guard of hip-hop. It’s straightforward, it’s engrossing and it’s chilling, it’s quality hip-hop from elite rappers.
Maboteng – ASAP Shembe & KaeB [produced by KaeB]
ASAP Shembe is a sonic nomad who keeps proving his ability to seamlessly slide in-and-out of different genres without losing any of his essence. Our next pick is the title track off his collaborative effort with the equally versatile producer KaeB; the socially-conscious Maboteng. The climax of a three-part effort, Maboteng is freeing piece of Afro house music that beckons you to dance to it. KaeB provides a nostalgic groove that carries an uplifting spirit as ASAP Shembe seamlessly floats on top of it. The title track is the lightest in tone of the three as it encourages one to try and take control of their life; in-spite of the circumstances that face you. KaeB’s production feels like summer, road trips and a good-time with unrelenting grooves he disperses on Maboteng; and ASAP’s energy starts off contemplative as it continuously grows more carefree as he throws caution to the wind. It’s a really comforting piece of music that feels like a warm home within the rather cold world we often function it.
Mark 15:35 – A-Reece [produced by MashBeatz]
A-Reece has already cemented himself as one of South African hip-hop’s premiere exports. Often a media-recluse, his music often serves as personal insights into his life and his project Today’s Tragedy, Tomorrow’s Memory is no different. Prefaced by the TTTM’s title, this project is extremely brooding as it finds A-Reece consistently reeling with the the opening track serving up a heartbreaking mission statement as it squares directly in on tragedy. Following the tragic loss of multiple family members; Mark 15:35 finds A-Reece lamenting as he explores religion and his relationship with it. Invoking the biblical Elijah, the first verse begins with the rapper trying to understand why God would allow the heavy loss he’s enduring. The grief is palpable from the beginning but continually increases in intensity as the verse builds climaxing in a heartbreaking ourtburst that reads: “I know everybody gotta die but if I’m losing everyone I’m living for, then dear Lord, why the f*ck a nigga still alive?” The second verse moves more inwards as he reveals how he’s dealing with things and what he needs to do going forth. Backed by a mournful and jazzy hip-hop soul production, Mark 15:35 is a raw and revealing glimpse at A-Reece’s crossroads as he tries finding his way through.
Mercury – Tom Saison featuring Tyson Sybateli & Bateru [produced by Bateru]
Retrograde has never felt this groovy… Tom Saison is undoubtedly one of my favourite new discoveries of 2021. Armed with an expressively piercing tenor and an acutely poetic pen, Saison’s crooning has been some of the most saturated this year and I can’t get enough of it. Road To was one of my standout moments within pop-soul; and Mercury stands as one of my favourites on that project. Bateru lays down a dreamy production that’s being propelled by an undeniable groove; and this serves as the canvas for Saison and Teli to provide us their alternate tales in romance. Mercury finds Tom Saison coming to grips with a regression he’s having in a relationship he still has really strong feelings for. Feeling isolated, he then decides to take some time off to regain himself. Sybateli switches gears by delivering one of his most romantic verses; showing off different shades to his persona. Mans came to flirt as he throws around sweet nothings to a girl that has him flustered and it’s some of the lightest I’ve ever heard him. Sybateli and Saison are swinging on opposite ends of the romance spectrum with a the confidence that is undeniably engaging and Bateru’s production really shines in making this an enjoyable tune that you just want to two step to. What this culminates in, is a romantically charismatic affair that is just a good time; even if it is surrounded by regression. Let me take some time out and hit replay.
Near You – Ipeleng [produced by Owami Ntuli]
Keeping within the realms of pop-soul, our next pick comes from one of our rising starlets of R&B, Ipeleng. Ipeleng comes across as an emotionally vulnerable songstress whose catalogue primarily functions outside of the more trap-soul elements of contemporary R&B as she pulls more towards acoustic soul. These sonics often find her sounding very reminiscent and that quality works wonders in Near You. Near You is a throwback to eras of soul that were filled with dramatic yearn. Backed by a soulfully lush production, Near You finds Ipeleng listing all the things she doesn’t want in her life if it’s not with her partner; from her senses to her worldly possessions. All of this in an effort to bring her partner closer. It’s romantically grand and cheesy and Ipeleng’s strong vocals inject enough feeling to sell the drama. Near You is a delight to listen to, a vintage type of love song that’s delivered really well.
Listen to All That Yazz’s Ipeleng feature here.
Nothing New – Just Jabba featuring Cheryl Zondi [produced by K. Fresh]
Our next pick keeps us within the realms of reminiscent romances with Just Jabba’s Nothing New. The Bougie Pantsula has steadily carved a lane as one of the more soulfully charismatic rappers with a wide range of soundscapes he can fit in. Nothing New is a duet that takes us back to the easy-listening era of 70’s soul in a song that feels fitted for a road-trip. The song finds Just Jabba and Cheryl Zondi as an on-again/off-again couple who’ve decided to rekindle their romance again for one night. Each of them bring us into their thought process preparing for the night; exploring their previous stalled attempts as they reconcile yet again in what seems to have become a friends with benefits situation as what’s happening is nothing new. There’s an incredibly comfortable chemistry between the two that really sells the relaxed yet wistful nature of this song. It’s a song that just endures the more you listen to it. K. Fresh’s rich production gradually builds more orchestral throughout the song climaxing with a saxophone solo, supported by a string section. Nothing New‘s climax is one of the most enjoyable I’ve experienced within hip-hop this year. It’s an understated affair that continues to sweep me with each listen. It just fits.
Read more Just Jabba related content here.
Only If You Like That – Tshego [produced by Tshego]
Our next pick continues to pull our content into more NSA-territory with Tshego’s ode to consent. Only If You Like That finds Tshego injecting trap with some pop bombast in what has gradually become one of my favorite pop songs of the year. Conceptually, the song finds Tshego preparing for a night of fun with a strictly-sexual partner; listing all the things he wants to do as long as she’s cool with it. The subject matter is simple and is executed really well. Only If You Like That‘s moody production is built upon a spectral trap beat with the live instruments breathing more life into it; the vocal production is also incredibly engaging and laced with catchy adlibs. It’s got a killer chorus and post-hook section that feels primed for karaoke and drunken singalongs. Tshego really throws himself into it with vigor. My relationship with this has been unassuming; with my enjoyment of it increasing over a time to a point where I have to admit that I like it. I really really like it.
OPS – KashCPT [produced by Baker Got The Keys]
KashCPT is one of South African trap’s most versatile artists which has also made him one of its best team players; known for cranking consistently slinky hooks. He’s an artist who feels like he’s game for almost anything, but one of my favourite sides of him is when here’s being boisterous; and that’s exactly what is delivered on OPS. Backed by an energetic trap beat packed with bounce, KashCPT comes in with the mission of being brazenly disrespectful and braggadoccious and succeeds in his tasks. The intent of his energy is clear from the tone with which he protests: “What?! No, I don’t know him. That boy not my bro”. Disrespectful hip-hop is honestly some of my favourite content and OPS really satisfies a lot of things I enjoy with it; 1) braggadocious call-outs under sick flows; 2) a really humorous and/or engaging personality. KashCPT brings both in spades whilst still delivering an indelibly catchy hook. It’s a much-needed jolt of energy delivered by one of the genre’s savvier players.
Overdrive – Malachi featuring Elizee [produced by Elizee]
Our next pick finds us switching our gears towards contemporary R&B with a collaboration from two of its bad boys. Malachi and Elizee are longtime collaborators that have both built toxic bad-boy personas playing within the realms of trap and contemporary R&B. Their latest pairing is a sexually-charged romp, from Malachi’s Wicked Romance Vol. 2, that finds both artists on their cockier edges as they try seduce their conquests for that night. The song begins with a pitched down refrain that repeats the line: “Yeah I know you wanna spend the night, baby girl I know you wanna spend the night…” as Elizee’s production provides a sumptuously slinky canvas for the Casanovas to roam and things get filthy. The vocal production really shines in accentuating the mood. Overdrive is a really cocky piece of bedroom R&B that both Malachi and Elizee have a lot of fun with. It hits all the right spots for these contemporary crooners as they mature more into their sound.
Pearl Necklace Freestyle – Besa Pharoah featuring popsnotthefather & Alisha Rosa [produced by oshoku]
Freestyles are a staple within hip-hop culture, and to me, there’s something endearing about hearing a freestyle that sounds free and works; like it didn’t take it self too seriously. That quality is the magic that has me hooked on Pearl Necklace Freestyle. Coming in at a brisque length of 1 minute and 45 seconds, Pearl Necklace Freestyle is probably the shortest song on this list and it’s memorable. The first half of the freestyle is centered around popsnotthefather’s freestyle, as he attempts to invoke Frank Casino. Backed up by Alisha Rosa and with studio direction from Besa Pharoah and oshoku, pops’ building freestyle is probably the most hilariously endearing thing I’ve heard all year within hip-hop. The freestyle with added commentary is smile-inducing silliness that never fails to crack me up. Pearl Necklace Freestyle sounds like pure fun and it captures a juvenile and carefree energy that is so addictive to listen to. It’s like you’re listening to genuine friends just fooling around and hyping each other whilst doing it. It serves as a refreshing canvas for Pharoah to introduce himself as a considered force repping Kempton Park, and he delivers. Pure fun.
Selema Po Po – Musa Keys featuring Loui [produced by Musa Keys]
Musa Keys has been one of my favourite artists to watch within amapiano this year; I’m a fan of his texturally rich brand of piano that’s more carnal & sensual. Vula Mlomo is still one of my favourite enduring hits of 2021 but then I heard Selema Po Po and knew it was my pick. The more global Amapiano, and its artists, becomes the more sonic fusions are bound to occur and thus far Selema Po Po has to be one of my favourite. Selema Po Po finds Musa Keys’ darkly rich brand of piano collides with Loui’s Afro-bongo influence; resulting in a heavenly piece of Afro-fusion dance music. Loui slithers in with a swaggeringly cool energy that injects the song with more Afro-dancehall/Soukous energy. This coupled with the more tribal elements that Musa Keys brings into the song provides a dance experience that is trance-inducing. As someone of both East and South African heritage; hearing these two worlds collide in this way was honestly magical; making Selema Po Po a song I’m going to be returning to for a long time.
Tsi – Muzi featuring Espacio Dios [produced by Muzi]
Muzi is an adventurous sonic traveller, he’s built himself up as a compelling alternative artists acts who has this great skill of sonically immersing you within a specific feeling; from last year’s breathtaking heartache of Makhoza to the ultra-cool club-reminiscent Interblaktic. This year’s pick is no different as he zones in on child-like expression with the relentlessly giddy Tsi, featuring frequent collaborator: Espacio Dios. Tsi is an incredibly catchy affair that serves as a pick-me-up. The duo have produced another feel-good banger that feels primed for music festival glory. The song finds Muzi psyching himself up whilst on his way to try and win back an estranged love and it’s a winning performance. The vocal production does a lot in creating this feeling from the vocal processing that’s placed on the main vocals to the bright harmonies that accentuate it. The nursery rhymes melodies Muzi uses in the verse and the more choral background vocals that respond to them. All of this culminates in an indelibly catchy song that sweeps you into its child-like, almost can’t contain itself nervous energy. It’s a distinct and memorable ditty all on its own; that grows bittersweet when placed within the full of context of his exploratory Interblaktic.
Listen to Muzi’s All That Yazz featured content here.
7 A Week – Dali Danger featuring Louw and Sash [produced by Twxggy]
Our closing number from Part 1 is a swaggering hip-hop number that comes from deep within the East Rand. Found within Dali Danger’s Party Pack, 7 A Week is a simmering slice of hip-hop built on one of my favourite trap productions this year that feels suave and intoxicatingly rugged. An ode to the hustle, 7 A Week is built around the concept that their romantic conquests require video calls as the only form of phone communication as a way of confirming that these men are indeed always working, like they say are. A concept which works well on a soundscape that feels like cigar smoking next to an expensive supercar passed midnight. Louw anchors the song superbly with his ominous hook whilst Dali Danger and Sash go off on their respective hustles. Dali Danger kicks it off with his signature laid-back energy that makes it feel like he’s really enjoying his persona within this space whilst Sash’s verse raises the intensity with his more chopped-up flows that just sounds cold on the production. 7 A Week just feels really cool to inhabit; especially when you want to feel like a boss who’s got endless hustle.