Introducing: BABA KUSHI

Born and raised in KwaZulu-Natal, BABA KUSHI carries the spirit of his upbringing into the vibrant streets of Johannesburg. Hailing from the small township of Empangeni, Esikhawini, he grew up surrounded by the rich sounds of House music, Afro-Pop, Gqom, and Maskandi/Mbhaqanga. In a community where Hip-Hop was a niche genre, these influences made a lasting impression, giving his music its unique dynamism. From his household to the streets, the vibrant linguistic slang and cultural tapestry of Esikhawini became a cornerstone of his lyrical craft.

BABA KUSHI’s transition to Johannesburg marked a bold leap toward fulfilling his rap dreams. A fortunate win on Betway became the turning point, allowing him to journey to Gauteng and focus on his music full-time. It’s a move he credits as essential to his artistic growth, stating, “This mixtape doesn’t happen if I don’t make that leap.”

His music is raw and introspective, rooted in a love for storytelling that began in childhood. By the first grade, he was writing stories, creating handmade booklets, and sharing them with his family. Storytelling remained a consistent thread through his early years, whether through writing or verbally entertaining his schoolmates during commutes. This passion evolved into music, where his lyrics explore themes of struggle, resilience, and identity. Influenced by Kwaito legends like Zola 7 and Brown Dash, as well as Jazz-infused Hip-Hop artists such as Kendrick Lamar, Roc Marciano, MF DOOM, and billy woods, BABA KUSHI creates a soundscape that blends introspection with jazz-heavy beats. “The prevalent sax samples in my work come from my appreciation of jazz over the years,” he reflects, adding that these elements tie his South African roots to a broader, universal sound.

Walking the line between storytelling and introspection is central to his artistry. “Being relatable is what makes both impactful,” he explains. His ability to move fluidly between social commentary and deeply personal narratives stems from his multifaceted perspective. Even when addressing societal issues, he approaches them through his own lens, creating introspective lyricism that resonates universally. “The emotiveness and detail in my pen ties both ends of the spectrum together,” he says, capturing the duality of his music.

As a member of Scum Babie$, BABA KUSHI represents a collective that thrives on creative freedom and experimentation. “Being part of a collective that understands and respects the cloth of rap I make has given me the confidence to execute my ideas,” he says. The group’s dynamic fosters bold artistic decisions, both in collaborative projects and individual works. He likens the collective process to being part of a football team: “Everyone understands their position and objective, making for cohesive stories within each song.” This collaborative spirit has also shaped how he works with artists outside of the group, reinforcing his ability to balance his vision with the needs of a project.

Released on November 29, 2024, in collaboration with Kijana Damu, CLOTHES WE HAD TO PRAY OVER is more than a mixtape—it’s a cultural artifact. Inspired by Johannesburg’s vibrant thrifting culture, the project is a testament to the artistry of fashion as a reflection of life’s challenges and triumphs. BABA KUSHI’s lyrical storytelling shines through as he explores themes of survival, transformation, and style. The mixtape also incorporates innovative trade techniques, offering listeners exclusive material and art pieces outside of digital platforms. It’s a move aimed at fostering direct artist-to-listener connections and challenging the traditional music industry’s reliance on streaming.

For BABA KUSHI, Johannesburg serves as a muse, providing the perfect backdrop for his social commentary. “The city is a melting pot of all things South African,” he explains, “so it contributes a lot in terms of capturing the South African experience in its varied textures.” The relationships he formed with collaborators like DoxThe_Maverick and Hurricane Dan Fischer when he first arrived broadened his horizons, helping him solidify his direction and confidence as an artist.

Feeling dictates BABA KUSHI’s creative process. He describes it as a meditative practice: “When I hear an instrumental, I just let it ride for a couple of minutes, hours, sometimes days. By the time I start writing, I’ve already premeditated the themes and technical pockets for what I’m trying to express.” This approach allows him to balance introspection with broader storytelling, tying emotiveness and detail into his lyrics.

Like many independent artists, BABA KUSHI has faced financial challenges in executing his creative ideas. However, these obstacles have driven him to explore direct-to-consumer models that foster a sense of community and independence. “The financial challenges have pushed me to reinvent traditional methods of music trade,” he shares, adding that he hopes to influence listeners to value and purchase art over relying solely on streaming. His ultimate goal is to scale these efforts, contributing to a culture that reveres art and supports artists sustainably. “I want to do everything I’m doing now on an even larger scale,” he says, emphasising his desire to impact the monetisation of art and influence South Africa’s music industry.

With CLOTHES WE HAD TO PRAY OVER gaining traction and his presence in the Johannesburg scene growing stronger, BABA KUSHI is poised to carve a lasting legacy. His journey is a testament to perseverance, creative authenticity, and the power of storytelling—proof that dreams, combined with determination and a bit of luck, can lead to remarkable transformations. 

Written by Kamohelo More