Tanzania hip-hop culture emerged in the early 1980s, it gained prominence after the public screening of the American hip-hop movie Wild Style in 1984. Artists like Kwanza Unit, Saleh Jabir, and Hard Blasters Crew were among the pioneers who localized the genre by incorporating Swahili lyrics, making it more relatable to the local audience. The establishment of studios such as Don Bosco Studio in 1992 and Mawingu Studio in 1994 provided platforms for recording, leading to hits likeMsela in 1995.
Kenya’s hip-hop scene also flourished in the 1990s, with artists like Kalamashaka and Ukoo FlaniMau Mau using the genre to address social and political issues. Their music resonated with the youth, sparking a movement that blended traditional sounds with contemporary beats.
In Uganda, hip-hop took root in the late 1990s and early 2000s, with artists like Babaluku and Sylvester & Abramz leading the way. They incorporated indigenous languages and themes, creating a unique Ugandan hip-hop identity.
The recent release of Khali Cartel 5 on March 6, 2025, marks a major milestone in East African hip-hop, reinforcing the genre’s strength and showcasing the immense talent within the region. The cypher curated by Kenyan rapper Khaligraph Jones, this 11-minute cypher brings together prominent artists from the region, including Uganda’s Ruyonga, Tanzania’s Mex Cortez, Fresh Like Uhh, Kenya’s Jakk Quill, Dyana Cods the only fem-cee in the cypher, and the legendary Abbas Kubaff. The cypher has sparked widespread discussions, reinforcing the collaborative spirit within the East African hip-hop community. Khaligraph Jones’ initiative in bringing together artists from different countries demonstrates the power of unity in elevating the genre to new heights. Each artist delivers powerful verses that showcase their lyrical prowess and reflect the rich tapestry of East African hip-hop.
After years of individualism and underlying rivalries, often played out in social media battles, Khali Cartel 5 has reignited conversations about unity and growth in the industry. Tanzanian rapper Mex Cortez pointed out that media and audiences tend to ride the wave of hype rather than actively supporting and nurturing the hip-hop scene. He emphasized the urgent need for long-term investments in talent development and proposed the establishment of Tanzanian Hip-Hop Awards to recognize and celebrate artists. Mex Cortez shared these insights during an X-Spaces discussion on Khali Cartel 5 and its impact, hosted by @OndustrtLawyer, which attracted over 3,000 listeners.
A key highlight on social media has been Tanzanian hip-hop connoisseur and artist Wakazi’s reaction to the cypher. As a trending topic across social media platforms and media houses, Wasafi FM, which recently hosted rapper Mex Cortez, has extensively covered the cypher’s impact. Wakazi took to his X platform to express his pride, referring to Mex Cortez and Fresh Like Uhh as his “familia.” Their powerful representation of Tanzania in Khali Cartel 5 reaffirmed the nation’s strong presence in the hip-hop scene.
Wakazi, who has been mentoring and guiding both artists, has played a crucial role in shaping their careers. His influence was evident during his 2024 Sauti za Busara performance in Zanzibar, where he shared the stage with them. Additionally, the trio was featured in a Tusker Cypher years earlier, further showcasing their dedication to strengthening Tanzanian hip-hop on a regional scale.
The impact of Khali Cartel 5 has sparked discussions across the region, with Ugandan rapper Ruyonga using X-Spaces to highlight the significance of this moment for East African hip-hop. In the cypher, Ruyonga delivered a powerful performance, seamlessly flowing in English, Luganda, and Swahili. He praised Khaligraph Jones for being a true representation of relevance in hip-hop, noting that Khaligraph has earned his place as one of Africa’s most respected hip-hop artists of this era. Since the release of the first Khali Cartel cypher in 2018—featuring Pan Kob, Don Jowlz, Petra, and Sagini—Khaligraph has consistently created a legitimate and respectable platform for hip-hop through his initiatives and achievements.
According to Ruyonga, East Africa’s hip-hop scene has shifted from being deeply rooted in community-based content to becoming heavily centered on romance. He emphasized that Kenya has developed a sustainable market and industry model through Khaligraph, demonstrating how hip-hop can be managed at a high level while crossing borders and sparking important conversations. The same, he noted, applies to Tanzania. However, when it comes to Uganda, Ruyonga believes the industry has grown too comfortable. He reflected on the golden era of the ’90s and 2000s when Ugandan hip-hop thrived, and artists from across the region sought collaborations with Ugandan rappers. That nostalgia remains, but the challenge now is rallying those who hold influential positions in the industry to reclaim their space.
Ruyonga pointed out that many prominent Ugandan artists are content with being celebrated within Uganda rather than expanding their reach beyond the country’s borders. He recalled the era of East Africa TV (EATV), a time when artists like AY and Navio helped foster regional unity. However, he lamented that the industry has since become fragmented, with a “divide and conquer” mentality preventing artists from collaborating across borders.
“This is a pivotal moment,” Ruyonga added.
“Right now, we have an opportunity for unity. Khali Cartel 5 is not just a cypher—it’s a conversation.”
This pivotal moment signals a new era for East African hip-hop—one driven by unity, lyrical excellence, and cultural pride. With Khali Cartel 5 amplifying these voices, the region’s hip-hop movement is undeniably making waves beyond borders.
