EAST AFRICA HAS SOMETHING TO SAY: Khali Cartel 5 Review by Otieno Arudo

When Khaligraph Jones announced the impending release of Khali Cartel 5, on March 6, 2025, the internet buzzed with anticipation. Fans across East Africa eagerly awaited the latest installment of the iconic cypher series, known for spotlighting the region’s hip-hop talent. One enthusiastic fan, @baru_allan, shared a reaction video shortly after the announcement, urging others to watch, like, share, and subscribe. However, not all feedback was positive; some critics felt the series had become repetitive. A user, @Bwire1995, commented on the familiar beats and styles, prompting Khaligraph’s witty retort about incorporating Kisii language in future projects. This exchange highlighted the rapper’s characteristic bravado—a trait that has defined his nearly two-decade-long career and solidified his impact on Kenyan and African rap.

Cyphers hold a significant place in hip-hop culture, serving as platforms where MCs showcase their lyrical prowess in a collaborative yet competitive environment. Originating from informal gatherings, these freestyle sessions have evolved into structured showcases, reflecting the genre’s emphasis on improvisation and skill. The term “cypher” itself has deep roots in hip-hop, symbolizing a circle of rappers engaging in spontaneous lyrical exchanges. Khaligraph Jones’ “Khali Cartel” series has embraced this tradition, providing a stage for both established and emerging East African artists. Since its inception in 2017, each installment has featured a curated lineup, blending diverse styles and narratives. From the inaugural cypher with artists like Petra and Don Juelz to subsequent editions spotlighting talents such as Steph Kapela, Bey T, and Breeder LW, the series has consistently garnered substantial viewership, underscoring its popularity and cultural relevance.

The release of Khali Cartel 5, has already generated significant buzz, amassing 1.6 million views within a week. This article aims to delve into the thematic and stylistic elements of each artist’s verse, analyze the production nuances of the instrumental, and explore fan reactions alongside the cypher’s broader cultural impact. By examining these facets, we can appreciate how this installment not only continues the legacy of its predecessors but also pushes the boundaries of East African hip-hop.

Jakk Quill

Jakk Quill, a Kenyan rapper hailing from Nairobi, has steadily carved a niche in the hip-hop scene with his intricate wordplay and socially conscious themes. Initially drawn to genres like rock and house music, it wasn’t until he encountered the works of artists like J. Cole and Drake that he found his calling in rap. This eclectic musical background has endowed his style with a unique blend of introspection and lyrical dexterity. His discography includes projects such as “NEW Decade Same Dreams” (2020), “Lost In Motion” (2021), and “Searching For Utopia” (2023), each reflecting his evolution as an artist.

Jakk Quill delivers a compelling verse that begins with a nod to his enduring supporters: “To those with me from the Jump man, who still call me determining they got me.” This acknowledgment underscores the significance of his participation in the cypher, marking a milestone in a career that has seen him establish himself not only as a rapper but also as a singer, producer, songwriter, and photographer. His diverse artistic endeavors reflect a deep-seated passion and commitment to his craft. He seamlessly transitions into themes addressing societal malaise, observing, “When I look around me I see drug addicts and femicide, I see black kings bugging no pesticides.” This line poignantly references the alarming rise in femicide cases in Kenya, which led to nationwide marches by women in 2024, highlighting his engagement with pressing social issues.

Demonstrating his technical prowess, the only other rapper apart from Scar Mkadinali to be nominated for every edition of the UnKut Hip-hop awards in the lyricist category, employs a dynamic flow, shifting from smooth cadences to rapid-fire delivery, and occasionally rapping off-beat to create a sense of unpredictability. His performance is further animated by expressive hand gestures and subtle dance moves, enhancing the visual impact of his verse. He critiques the stagnation within the Kenyan hip-hop scene with the line, “Musically I feel like niggas dead and I’m dedicated,” using a clever play on words to juxtapose the industry’s lethargy against his own commitment.This appearance in Khali Cartel 5,not only amplifies Jakk Quill’s voice within the regional hip-hop community but also solidifies his reputation as a formidable lyricist. His ability to intertwine personal gratitude with sharp societal observations, delivered through a versatile and engaging performance, underscores his growing influence and the importance of his contributions to the genre.

Ruyonga

Edwin Ruyonga, is a distinguished Ugandan hip-hop and spoken-word artist whose career spans over two decades. Initially performing under the moniker Krukid, he was among Uganda’s new millennium hip-hop acts, with his first group winning a nationwide music competition in 2000.After relocating to the United States in 2002, Ruyonga continued to evolve artistically, blending conscious lyricism with gospel influences. His discography includes notable albums such as “Gloryfire” (2015) and “Kabalega” (2024), reflecting his commitment to addressing themes of faith, social issues, personal growth, and African identity. In “Khali Cartel 5,” Ruyonga delivers a compelling verse that seamlessly transitions between English, Swahili, and Luganda, showcasing his linguistic dexterity and cultural pride. He opens with a declaration of his enduring presence in the hip-hop scene:”Many will call but few can get involved, Extra level boss I’ve been the problem we are yet to solve“

Throughout his verse, Ruyonga pays homage to East African hip-hop legends, intertwining references to Kenyan groups like Wakadinali and Kalamashaka, which he delivers in four successive lines,”Kaahidi na njaro ya Wakadinali, Kutoka Kanairo hadi Kigali
Game is on bars sana mi ni don Godfather ,Baba like the [?] …….Mix with Kalamashaka” This acknowledgment underscores the historical impact of East African MCs in neighboring states and advocates for a unified regional industry capable of competing with West and Southern African counterparts. Ruyonga’s performance is marked by a raw, energetic cadence, reflecting his passion and intensity. His extended verse prompted Khaligraph Jones to comment humorously on its length, highlighting Ruyonga’s enthusiasm and the depth of his message.

Fresh like Uhh

Fresh Like Uhh, a prominent Tanzanian rapper, has been instrumental in reshaping East Africa’s hip-hop landscape. Co-founding the Bar es Salaam movement, he championed the release of seasonal projects and merchandise that inspired a new generation of East African artists and performers. Additionally, as a founding member of Tema Yai Nation, Fresh Like Uhh empowered bilingual and trilingual artists in Tanzania, challenging the dominance of Swahili-speaking content creators.

In 2024, the East African hip-hop scene witnessed a spirited exchange when Kenyan rapper Khaligraph Jones critiqued Tanzanian artists, asserting his dominance in the region. This proclamation ignited a series of responses from Tanzanian rappers, including Fresh Like Uhh, who defended their craft and regional pride. citeturn0search8 However, demonstrating unity and the transcendent power of music, Khaligraph extended an olive branch by featuring Fresh Like Uhh in “Khali Cartel 5.” This collaboration underscored the idea that, beyond competitive banter, the collective goal is to elevate African hip-hop.

In Khali Cartel 5, Fresh Like Uhh delivers a verse characterized by a smooth, laid-back flow, setting him apart from the more rapid-fire deliveries of his counterparts. He opens with, “Lazy flow coz my pockets OB’s,” suggesting that his relaxed demeanor stems from financial success. He cleverly uses wordplay to reflect on his journey in the Bongo industry, noting past setbacks and subsequent triumphs: “When I took some L’s, nigga wrote me off completely; Now I’m closer to the Ms we like Mario Luigi.” This line metaphorically portrays his progression from losses (“L’s”) to monetary gains (“M’s”), drawing a parallel to the iconic video game duo’s quest for coins.

Throughout his verse, Fresh Like Uhh showcases his lyrical dexterity with a series of similes and metaphors. He raps, “Niggas on my nuts like oh trees; OG’s ladies stay falling like oak leaves,” and in another line stating, ” 255 that’s the 12 like four 3s ,”employing vivid imagery to convey his influence and appeal. His performance exudes confidence and mastery, with a consistent flow that seamlessly rides the beat, reflecting his seasoned artistry. This collaboration not only highlights Fresh Like Uhh’s individual talent but also symbolizes a harmonious blend of East African hip-hop, bridging past rivalries to forge a united front in the continental music scene.

Dyana Cods

Dyana Cods, a Kenyan rapper born in Kisumu, has been steadily rising in the hip-hop scene, known for her assertive delivery and themes of empowerment. Her participation in Khali Cartel 5, further solidifies her presence in the industry. Despite having been in the industry for over five years, she gained significant attention with her 2024 single “Set It,” a dancehall track featuring Ajay of the Buruklyn Boyz. Initially experimenting with foreign R&B sounds, Cods ‘Kenyanised’ her music under the guidance of her management, Zoza Nation, to resonate more with the local audience.

Cods delivers with a smooth cadence, a stylistic choice that sets her apart from the predominantly rapid-fire flows of her counterparts. She begins by asserting her prowess: “Whatever you looking for just hit me coz I got it / I came with the smoke, you can’t take as a baddie.” She cleverly references Kenyan socialite Diana B and her husband Bahati, stating, “Mi si Diana B, rappers hawana Bahati,” highlighting her superiority over other rappers. Cods also pays homage to Nelson Mandela, referring to herself as the “rap Mandela,” and subtly critiques the popularity of lyrically shallow Amapiano tracks with the line, “We dey run kitty kitty / Runtown ikunzingela.”

However, this artistic choice of a laid-back delivery, combined with loosely connected themes, has not been well-received by some fans. Critics argue that Cods could have delivered a stronger verse, reminiscent of her impactful performance in Morio Anzenza with Wakadinali. A tweet by user Boga Fulani encapsulates this sentiment: “Hip Hop heads wamedai Dyana Cods zii.” This reflects a desire among fans for Cods to return to the more aggressive and cohesive style showcased in her previous collaborations. Despite the mixed reactions, Cods’ participation in Khali Cartel 5 demonstrates her versatility and willingness to experiment with different styles. As she continues to evolve as an artist, balancing fan expectations with personal artistic growth remains a delicate endeavor.

Mex Cortez

Mex Cortez, a prominent Tanzanian rapper renowned for his bilingual prowess in Kiswahili and English, commands a significant following among Kenyan hip-hop enthusiasts. In his verse on Khali Cartel 5, Mex Cortez addresses the 2024 lyrical exchanges between Tanzanian rappers and Khaligraph Jones, positioning himself above the fray. He opens with:”See the 254 was patiently waiting for me to diss K, Brother to brother, my G, let me ask you this K.“Here, he acknowledges the anticipation from the Kenyan audience (254 being Kenya’s dialing code) for him to engage in the diss tracks but questions the necessity, suggesting a broader perspective.

Throughout his verse, Mex Cortez emphasizes his respect for Khaligraph Jones and the unity of East African hip-hop. He cleverly references his Kenyan fanbase’s expectations:”Y’all miss me on the first four cyphers, My Kenyan fans pleaded the fifth.” This line is a double entendre, alluding to both the legal right to remain silent as well as the fans’ desire for his inclusion in the fifth installment of the Khali Cartel series.

In a bold move, Mex Cortez critiques the dominance of South African rappers, questioning the value of their continental awards as their dominance has a virtual chokehold on continental hiphop:

“If I’m to touch a Casper now.It would just float and vanish
Why would I go at a nasty child in mind,You know I’m polished”

By mentioning Cassper Nyovest and Nasty C, he challenges the prevailing southern dominance in African hip-hop and calls for East African artists to assert themselves more confidently on the continental stage. This sentiment aligns with Khaligraph Jones’ advocacy for East African representation, notably highlighted during his acceptance speech at the Soundcity MVP Awards in Nigeria. Mex Cortez concludes his verse by reflecting on the expectations for him to diss Khaligraph, a theme he began with, “You wanted me Khali in a beef, Now we just laugh it off.” This closing reinforces the mutual respect between the two artists and underscores the potential of East African unity to elevate the region’s hip-hop scene.

Abbas Kubaff

Abbas Kubaff, born Andrew Kabiru Karuku on January 8, 1978, in Kariobangi South, Nairobi, is a cornerstone of Kenyan hip-hop. Emerging in 1995 as a member of the pioneering group K-South alongside his brother KC and Bamboo, Abbas played a pivotal role in shaping East Africa’s rap scene. K-South’s influential albums, ‘Nairobbery’ (2002) and ‘Nairobizm’ (2004), featured hits like ‘Tabia Mbaya’ and ‘Kapuka,’ the latter coining a term that became synonymous with mainstream Kenyan rap. Following the group’s disbandment in 2005, Abbas embarked on a successful solo career, releasing acclaimed tracks such as ‘Chapaa’ and ‘Tokelezea.’ His solo albums, including ‘Angabanga’ (2006) and ‘Ghettoholic’ (2014), further cemented his legacy.

Abbas opens his verse with a witty pun:”Nikiget high on my own hio ni self-esteem.“This line cleverly plays on the phrase ‘getting high on one’s own supply,’ suggesting that his confidence is self-sustained. He continues with his wordplay, dropping his signature tag line,”To be or not to be ni Abbas ku Be” a reference to Shakespeare’s famous soliloquy, intertwining it with his name to assert his enduring presence in the rap game. Reflecting on his career, he highlights the opportunities his music has afforded him, from international travels to financial gains.

He critiques the ‘politricks’ surrounding the Music Copyright Society of Kenya (MCSK), caliing for policy change in the organization. He states over three lines, Honestly si politricks tubonge royalties,Itabidi ungebo na wale ubadilishe policies, Mukuchu ya mraia inachaiwa juu ya charity.” Abbas concludes his verse by expressing gratitude to Khaligraph Jones for the cypher invitation, likening the experience to a cinematic production:”Omollo na Doobie Doobie hii si ni movie“He pays homage to his roots in Kariobangi, reinforcing his connection to the community that shaped him. Abbas’s participation in Khali Cartel 5 not only bridges the gap between hip-hop generations but also underscores the cypher’s commitment to honoring the genre’s veterans while spotlighting emerging talents, mirroring the inclusion of the veteran Chiwawa in the third installment of the cypher.

Production

The production of Khali Cartel 5stands as a testament to East Africa’s burgeoning hip-hop scene, meticulously crafted by Blu Ink Corp in collaboration with 22Bet. At the helm of its sonic landscape is Vinc on the Beat, a multi awarded producer renowned for his distinctive sound and longstanding partnership with Khaligraph Jones. His unique approach to beat-making, characterized by gritty, booming beats with layered instrumentation, has seen him take charge of the third Khali Cartel cypher in a row. Vinc’s expertise is evident as he tailors the high energy fast BPM instrumental to complement each rapper’s unique style. His adept mixing and mastering skills ensure a cohesive sound, allowing the diverse cadences—whether Jakk Quill’s dynamic delivery tor Ruyonga’s energetic cadence or Fresh Like Uhh’s smooth flow—to shine over the 12-minute runtime. The beat evolves dynamically, incorporating elements like piano flips, heavy bass as well as chop and screw movements, reflecting a deep understanding of hip-hop’s nuances.

The visual production of Khali Cartel 5masterfully enhances its storytelling through a dual-setting concept. The first setting depicts a press conference, where the assembled rappers sit at a table, each taking turns to present their lyrical narratives. This setup underscores the cypher’s thematic focus on dialogue and confrontation, reminiscent of a formal debate. The second setting features a minimalist room illuminated with complex, vibrant lighting schemes. These dynamic colors symbolize the flashy lifestyles often associated with rappers, reflecting the complexity of artistry and the sometimes artificial nature of the hip-hop industry. Each artist’s performance is visually distinct; for instance, Jakk Quill’s expressive hand gestures and Dyana Cods’ captivating dance moves leave a lasting impression. The incorporation of cinematic elements throughout the video adds depth to the narrative, providing audiences with a rich visual experience that complements the cypher’s lyrical content.

Conclusion

Khali Cartel 5stands as a landmark moment for East African hip-hop, unifying voices from Kenya, Uganda, and Tanzania into a single, powerful narrative. By featuring veteran MC Ruyonga alongside rising stars like Fresh Like Uhh and Mex Cortez, Khaligraph Jones not only bridges generational divides but also transcends previous regional rivalries. Building on the so-called “friendly beef” of 2024 with Tanzanian rappers, Khaligraph has redefined the discourse by championing local talent and pushing his #PlayKE advocacy, urging Kenyan radio to spotlight indigenous sounds. This cypher, with its deliberate curation of both established and emerging voices, is a vivid reminder that the future of African music rests on regional collaboration rather than isolated competition.

The cypher further amplifies the message of unity by giving overlooked talents like Jakk Quill a significant platform to showcase their craft. His self-aware verse acknowledges the long-overdue recognition for many gifted artists who have, until now, slept on the sidelines of mainstream success. Meanwhile, Mex Cortez’s verse turns a sharp critique towards the dominance of South African and West African industries, challenging the status quo and calling for a bolder East African presence on the continental stage. His clever use of double entendre—pleading the fifth in a beef he respects—resonates deeply with fans, reinforcing the idea that true artistry lies in respecting tradition while daring to innovate.

Khaligraph Jones himself adopts the role of a wise mentor and narrator throughout the cypher gracefully stepping aside from the need to dominate the mic. The accompanying visual narrative, framed as a press conference, underscores this shift by satirically spotlighting the often superficial relationship between media and artists. By celebrating both the new voices and the veterans of East African hip-hop, the cypher critiques the media’s narrow focus on commercial appeal and reminds the audience of the rich, multifaceted story behind the music. This collective movement of artists uniting to challenge existing norms and rewrite the narrative is a clarion call to the continent: EAST AFRICA HAS SOMETHING TO SAY.