So you reckon that your detractors struggle to understand you because of the lack of originality they’re exposed to then?
We are currently witnessing an inspiring time in South Africa where today’s musicians can significantly influence the direction of our local hip hop sound and aesthetic for future generations. Unlike in the States, where artists have a well-defined identity along with established movements and histories, we are still in the process of self-discovery. Many are hesitant to embrace their true selves, opting instead to mimic trends from other places. Who dictates that rap artists must emulate Tupac? The style there reflects their surroundings. My background is different—I’m iFani, hailing from the Eastern Cape. My approach involved observing and selectively adapting elements I found appealing, but ultimately, I defined my own identity. What I present to you is genuine and not a copy. It may appear unusual because you are unfamiliar with my story. However, through my music, I will convey that truth. I’m here to change misconceptions.
Did Sony Music not support that vision? Last year you were signed to them for what seemed like a few weeks and before we knew it, that deal just vanished.
We encountered significant challenges. Reflecting on it now, I realize this experience is typical for artists. Proving oneself is a necessary process. However, I was feeling immense pressure due to financial struggles and industry frustrations, making me eager to jump in without delay. They reached out to me after all, so I assumed they were invested in my success. I overlooked the business aspect; proving my worth was crucial for them to fully commit their resources to my career.
What was the nature of the deal you signed with them?
It involved licensing and management. My main issue was: “listen guys, I’m bringing the music already done. ‘Shake’ had just knocked Mafikizolo’s ‘Khona’ off the top of the charts. I don’t have any gigs lined up. I’ve been with you for months and the only gig you got me was in January, which paid R1,500.” I was in significant debt, around minus R60,000. Therefore, I needed work, but they weren’t facilitating that. My frustration grew. Eventually, they expressed that they couldn’t work with someone like me, and I accepted that.
And at what point did Dreamteam Talent come by?
Almost immediately after my deal with Sony soured, Refiloe (Ramagase – also manager of Khuli Chana, Ms Cosmo, Kabelo Mabalane, among others) contacted me, inquiring, “who’s managing you?” Little did he know the turmoil I had just experienced. We had a conversation, and he advised me to sort things out with Sony while he offered me five gigs. He was the first to provide me with meaningful opportunities that didn’t pay a mere pittance, despite the fact that I wasn’t under contract with him at that time. I was impressed. I performed those gigs, and upon my return, he assured me that once Sony released me officially, I could join Dreamteam. Two months later, I received the release documents from Sony, and it took off from there. The results were astonishing.
With a career that could be compared to a vibrant bowl of ripe fruits, this is an artist enjoying the fruits of his labor, one hit at a time.
