In the ever-dynamic world of South African hip-hop, few events have stirred the pot as much as Big Zulu’s bold diss tracks, notably 150 Bars and its sequel, 200 Bars. These tracks not only reignited the competitive spirit of local rap but also exposed underlying tensions within the industry. This article delves into the origins of these feuds, Big Zulu’s controversial rise to prominence, and the aftermath of his diss tracks.
The Rise of Big Zulu
Before his fame as a rapper, Big Zulu worked as a taxi driver, a job closely tied to South Africa’s high-pressure transportation industry. In 2008, he took a leap of faith, leaving his job to pursue a music career. His big break came in 2015 when he signed with Universal Music, and by 2018, his debut album, Kabi, had put him on the map.
The album’s success was followed by his second studio project in 2019, featuring the hit song Amalilon with Cassper Nyovest. This track not only achieved platinum status but also showcased Big Zulu’s potential as a force in the music industry.
The remix, which included Kwesta, further cemented his status. Over the years, he crafted a unique style, blending traditional isiZulu elements with modern rap, which resonated with fans and distinguished him from his peers.
The Start of the Feuds
Big Zulu’s initial foray into diss tracks began with subtle jabs. Songs like 50 Bars and 100 Barsmentioned rappers like Stogie T, Kwesta, and Cassper Nyovest, albeit in a respectful tone. However, the tone shifted dramatically in 2022 with the release of 150 Bars. This diss track didn’t just target a few peers—it went after a host of South African rappers, including KO, Duncan, A-Reece, AKA, MT, and Nota.
The scathing lyrics included lines mocking their careers, lifestyles, and personal lives. For instance, Big Zulu ridiculed Stogie T for his “empty garage” and took aim at KO, claiming his last hit was outdated. He also made sharp remarks about Cassper Nyovest’s alleged reliance on collaborations to stay relevant.
Responses and Industry Reactions
Unsurprisingly, 150 Bars provoked a wave of responses, though not all were musical. Some rappers, like MT and A-Reece, chose to address the diss through interviews and social media, with MT stating that he found diss tracks “a waste of time.” Others, however, clapped back with their own tracks. Cassper Nyovest’s 4 Steps Back accused Big Zulu of abusing women, referencing past allegations that Big Zulu had faced in 2018. Cassper also mocked Zulu for being an “upcoming” artist despite being in his mid-30s.
KO responded with Omega Freestyle, while Kwesta dropped Quantum (First Load), both tracks packed with fiery bars that ridiculed Big Zulu’s claims of supremacy. However, the most impactful response came from Duncan with his track Omu (meaning “Funeral”), which many fans hailed as a lyrical “obliteration” of Big Zulu.
The Complex Dynamics of Fear and Competition
South Africa’s taxi industry is infamous for contract killings and disputes, making it a dangerous realm. While there’s no evidence that Big Zulu is directly involved in such activities, his reputation and the perception of his ties to this world have made some hesitant to engage with him directly.
Big Zulu’s Defense
Amid the backlash, Big Zulu defended his actions, claiming that the diss tracks were intended to revive South African hip-hop, which many had declared “dead.” At the end of 150 Bars, he expressed respect for the rappers he dissed, framing his track as a friendly competition. However, critics, including AKA, dismissed this rationale, with AKA stating on Twitter: “You can’t make a diss track then pick everyone up at the end. That’s not hip-hop.”
Big Zulu later took to Instagram Live to address his critics, leading to further debates about his motives and the authenticity of his claims.
The Aftermath and Current Status
Despite the fiery exchanges, some relationships appear to have remained intact. For instance, Big Zulu and Kwesta were seen hanging out after the diss track saga, suggesting that at least some of the feuds were purely musical. However, the industry remains divided, with lingering tensions among several artists.
Big Zulu’s bold moves have undoubtedly sparked renewed interest in South African hip-hop, but they have also brought attention to the fine line between competition and personal attacks. Whether his efforts will lead to lasting unity or deepen divisions in the industry remains to be seen.
Conclusion
Big Zulu’s diss tracks have left an indelible mark on South African hip-hop, showcasing the genre’s power to spark conversation and competition. While his approach has drawn both praise and criticism, it underscores the raw, unfiltered nature of hip-hop culture. As fans, artists, and critics continue to dissect his words and intentions, one thing is clear: Big Zulu has reignited a fire in the local rap scene, for better or worse.
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