Big Zulu’s Victims: The Diss Tracks That Shook South African Hip-Hop

Big Zulu’s victims of diss tracks, particularly from his fiery releases 150 Bars and 200 Bars, have sparked fierce debates and reignited competition in the South African hip-hop scene. These bold moves not only highlighted tensions among rappers but also redefined the local rap landscape.

The Meteoric Rise of Big Zulu

Humble Beginnings

Before dominating the music charts, Big Zulu, born Siyabonga Nene, worked as a taxi driver, navigating South Africa’s high-pressure transportation industry. In 2008, he left this demanding job to chase his musical dreams.

The Breakthrough

In 2015, Big Zulu signed with Universal Music, marking the beginning of a promising career. His debut album, Kabi (2018), made waves, while his 2019 album, featuring the hit track Amalilon with Cassper Nyovest, earned him platinum status. The remix, featuring Kwesta, further solidified his unique style—a blend of isiZulu elements with modern rap.

Big Zulu’s Victims: The Start of the Feuds

Early Jabs

Big Zulu’s victims initially faced mild criticism in tracks like 50 Bars and 100 Bars, where he mentioned peers like Stogie T, Kwesta, and Cassper Nyovest respectfully.

Turning the Heat with 150 Bars

In 2022, Big Zulu shifted gears with 150 Bars, a diss track aimed at KO, Duncan, A-Reece, AKA, MT, Nota, and others. These scathing lyrics mocked careers, lifestyles, and personal lives, making Big Zulu’s victims the talk of the industry.

Key Highlights

• Stogie T was mocked for an “empty garage.”
• KO’s last hit was called outdated.
• Cassper Nyovest was accused of relying on collaborations for relevance.

Responses from Big Zulu’s Victims

Social Media and Interviews

Rappers like MT and A-Reece responded via interviews and posts, dismissing diss tracks as “a waste of time.”

Musical Comebacks

• Cassper Nyovest’s 4 Steps Back accused Big Zulu of past controversies.
• KO’s Omega Freestyle and Kwesta’s Quantum (First Load) packed lyrical punches.
• Duncan’s Omu (Funeral) was hailed as a lyrical knockout.

Complex Dynamics

Big Zulu’s past as a taxi driver added tension. The taxi industry’s notorious reputation for violence led to speculation about his connections, making some rappers hesitant to respond directly.

Big Zulu’s Defense

Big Zulu argued that his diss tracks were aimed at reviving South African hip-hop, which many claimed was “dead.” He clarified in 150 Bars that he respected his targets, framing the diss as friendly competition. Critics, including AKA, disagreed, stating:

“You can’t make a diss track then pick everyone up at the end. That’s not hip-hop.”

Aftermath of Big Zulu’s Victims

Divided Reactions

Despite the chaos, some relationships endured. For example, Big Zulu and Kwesta were later seen socializing, hinting at the musical nature of their feud. However, tensions with others, like Cassper Nyovest, linger.

Rekindling South African Hip-Hop

Big Zulu’s victims have undeniably contributed to reigniting interest in the genre. However, his approach also blurred the lines between healthy competition and personal attacks.

Conclusion

Big Zulu’s victims, targeted through diss tracks, reflect his bold strategy to revive South African hip-hop. While his approach has drawn mixed reactions, it underscores the genre’s raw, unfiltered energy. Whether these moves unite or further divide the industry, one thing is certain: Big Zulu’s impact on the rap scene is impossible to ignore.