Podcast and Chill with MacG

00:01 To advertise, email, podcast at thisismaggie.com. Release yourself from order and logic and enter a new place. It's not work. It's not home. Here, no maps have been drawn. No books have been written. Nothing is certain. Everything is possible. Welcome to Podcast and Chill with Magi. 00:29 I'm assuming this doesn't end well. 00:36 Oh, my goodness, Paducah. It's been a long time coming. Historic. It's finally happening. 00:41 History in the making. 00:42 Nothing like God's timing, my nigger. Bro. Ladies and gentlemen, please welcome the legendary, the greatest of all time. Yeah, man. 00:50 DJ, my buddy, so. Pori. 00:52 Pori. 00:53 Yo, the good is here, man. 00:55 Yes. Bro, I've never begged anyone for an interview like I've begged this guy. It's been years. How many years have I been begging you to come, bro? 01:01 I could have did the first one, but last summer, fine. I used to be hoping Slava got cool. Oh, man. 01:06 Yeah, we recorded at Recharge. I was doing an event, but it was like way in the beginning. So I was still doing the camera and the sound. So we shot, but I lost the audio. So that never went up, bro. And it was a beautiful episode, dog. Right outside of Recharge. Yeah. 01:23 So what changed your mind? What made you want to come? Are the numbers not numbering there by F&B, eh? The ticket sales are not moving. 01:29 No, you guys worked hard, man. I'm proud of you guys, Shem, eh? Yeah. So now we are getting, you know? You guys are the guys. So we need you. We need you guys now. 100%. So I'm here to promote. 01:42 Thanks for the honest, bro. You can kiss the ring, yeah. LAUGHTER So listen, I want us to have a good episode, right? So I want us to clear the air. Because obviously, you know, we've been talking about you for years. You're the biggest summer piano star. You're the biggest, you know, guy in the music industry. So whenever you train, we talk about you. And obviously, I know they send you the bad stuff. They never send you the stuff when we're praising you and stuff like that. 02:07 I feel like also the social media and just audience, they don't like good stuff a lot. They don't like hearing good stuff a lot. The bad stuff are the nice ones. 02:17 Because I'll say something important and they just look. So let's clear the air. Have I ever said anything that you don't like that you'd like to address right now? Eat a dick, eat a dick, eat a dick. 02:34 What does that mean? I forgot the shit bro we say here. Well you said that. 02:39 No I remember because you know what happened dog? So must I tell you the truth, because I haven't told it on the show, right? So what happened is, I was releasing a piano project, my first one, and I was working with Cezo Alakad, right? So Cezo Alakad is like, yo, Pori's going to be mad because you never spoke to him to get permission to release the project. So I came on the show, I'm like, no man, I don't need permission, I'm a grown-up man. 03:01 You know what I mean? He was not supposed to say that. 03:04 That's the honest truth. So when I went on there, I'm like, no, man, I'm a grown-ass man. I don't need permission from Pory. You can eat a dick. You know, you've got to add some spice because we're podcasting. 03:11 You know what I mean? Yeah, spicy. I wish I could look spicy, yeah. 03:15 What did 03:17 I don't know. No, but I don't think that was necessary. 03:22 Yeah, because that's when you are alluding to the thing at the camp. And gatekeeping. Yes, that some camps can't grow big because they're not aligned to the main camp, you know. 03:32 Yeah, and when I was confused at 14, gatekeeping. Because I was like, you can't say me like a gatekeeper. I don't know. Because if you look at, you know, what I did for the game, you can see, like, I've opened doors. So then you get kept, like, I'm depressed. You guys depressed people, do you know that? I know, I know, I know. So what's your take on that? Look, man, you know, we have an obligation, right? We have an obligation to our audience, right? To always speak the truth. You understand what I'm saying? But what if, what if, what if the information that we're creating is not the truth? 04:05 Not speak the truth, my truth. Oh, your truth. 04:07 My truth. So that's why we always give people the right to reply. That's why when you are here now, I'm asking you, how would you like to reply? Because maybe I might have been misinformed. You understand what I'm saying? So we have an obligation to speak our truth. That's why people watch the show, right? And I do understand that some people, they might take it personal. But one thing you must be rest assured is that it's not from a malicious place. You know, I might be misinformed. I might think what I'm saying is the truth, but it's not. Do you understand what I'm saying? But I don't think it's a point where like... 04:36 people should get depressed, you know what I mean? Because it's not like we want you to fail or I hate you, I want you to die. You know what I'm saying? 04:43 It affects. We're human. We're human. And then it's like, 04:51 I do it for the love and I do it for the culture. It's like, yo, I'm here to, I see a gap. I saw a loop, a lot of loop holes, you know, when I was in Kalawa. You know, I said, after Kalawa, I was like, I need to change this game. I need to be the other way around. You know what I'm saying? Because the dealy, All deals, man, were kind of like pop deals. Artists were getting 15% and whatever, whatever. And then internet came and the game changed. I was like, you know, since we're internet, and then things are easy and stuff, it's like, let me really change this thing. 05:22 And it's like, the artists must benefit more. That's why that distribution thing came. And it's like, actually, and I was inspired by bad men. Because Batman had a deal with Universal and then this distribution and Universal is taking 15. So I was inspired by that. It's like, wow, okay, actually, you know what? Let me push this thing. You know what I'm saying? And then I had deals with Sony. After Galawa, you know, it's like, it was really tough. So I did an artist deal. But it didn't, we ended up, you know, it ended up not working out. 05:55 You and Sony. 05:55 Yeah, we were in Sony. So I had two deals at the same time. I had an artist deal and I had a joint venture with them, with Black Boy. Yeah. So Black Boy, it had Shasha, it had Blindo, the vocalist, it had... The beginning. Yeah, the beginning. And that was... I was learning the distribution. I mean, the joint venture thing, how it works. And then artists, obviously, I needed some cash to flow and stuff. But after that, it's like, okay, moving forward, I'm going to do distribution. That's where now... 06:25 I signed a deal with Electromode. While I had a deal with Sony. You understand? But that one is like, I opened another company. I said, New Money Gang. Then I did a distribution. 06:35 And then other New Money Gang is more Daliwonga. Yeah, with Daliwonga. 06:39 And at the same time, that's where... 06:43 I took cabs to things like Ajoa. Bula Campani, we went to F&B on first time and then we opened a Campani. Then we went to Electromote. Then we did two deals. And then we didn't even get advance and stuff. It was just... Joint venture. Not joint venture. Distribution. Distribution, yes. Yes. Because now with that, why I did that is because of... 07:04 The label sometimes didn't like... You know, like, the label sometimes, like, but what's Pananda? Sometimes they don't do the job. 07:11 You understand? 07:12 And I was like, they were frustrating me big time. Is this Sony? It's Sony. 07:16 And I was seeing, I was like, ah, this guy is... Is this before or after you get the 20 million from Sony? 07:22 That was after. I'll explain, I'll explain. So now... 07:25 So now... 07:28 Because they were pissing me off and I was like, this guy's not doing the job and whatever. I was like, you know what? Taste my piano that will not taste it. Actually, I'm taking this on my piano to another world. We'll figure it out. 07:39 Malachi will figure it out. I understand. At that time, Malachi was my lawyer. And she said, no, it's not my lawyer. 07:47 But it's cool. It's good for you as a bad lawyer. It's terrible. 07:51 He's always suing us, my man. 07:52 So you can eat a dick, you can eat a dick. But it's my bro. 08:00 He's been holding us down because of also Kabza. Again, he was in, he was signed. So I had to take him out there. You know what I'm saying? So I had to pay fees. 08:10 Where was Kabza signed? At university? 08:12 No, no, no, it was signed. House of Africa, right? No, no, no. That's a guy, man. Parakemang. 08:18 It was a guy. It was a guy. Not Neo. Not Neo. Another guy. So I had to take him out there. So I had to pay my lads to take him out there. Then shop. After that, we went to electro mode. So now... 08:33 So my boss is getting into trouble a little bit that side. 08:35 It's like, hey, you signed Pori, but I see Pori is on fire that side. 08:40 So he had to fetch me. And I said, he had to fetch me that side. 08:44 From Electromonde. 08:44 Electromonde. That's where the 22. They dropped the bag. And the 22 is double now. So it was two companies. It was 22 for me, 22 for Cubs. Wow! Then we took all the catalog and that's where we went. 08:58 So the 22, are they giving you to produce albums or music? Just distribution. Just distribution. 09:03 Okay. I'm taking 20, we're taking 80. We run the label, we do the music video. We market the artist, we do everything. Because that's why I saw us like, hey man, the label man is not like doing the most now. You know what I'm saying? And things were changing, man. Like... The labels were, you know, the independent thing. 09:19 Yeah, yeah, yeah. 09:22 Because of social media and stuff. And I saw it and I was like, ah, this guy's now. 09:28 I'm seeing the people who work, not Sean, because Sean sometimes is not, you know, he's not the one who does that. He's the boss. 09:34 Yeah, you understand? 100%. So currently, what's the deal? So you've got New Money Gang? Yes. And you've got Black Boy and the Sony. Sony, yeah. Okay. 09:44 Yeah, and then we squashed the artist. The Electromode. Yeah, yeah. The Electromode, we squashed it because they took all the catalog to give us advance and stuff and whatever. 09:54 And which artists do you have signed under? I know you work very well with X-Star P. Yo, I have a lot. 09:58 It's X-Star P, Mess Music, Dali Wonga, Nia Pell. 10:04 All those guys. Yeah, there's a lot, man. There's a lot. 10:07 And they're under those two labels. Yeah, no, they're under my label. And Kapsa, Kapsa doesn't have a lot of artists. Kapsa has a young star now. And him and few. 10:17 And there's a new guy. Okay, but that's the tech company. That's another company. It's Tech Hub now. Junior. 10:25 Junior SA. And then can you clear the royalties? Because we were under the impression that you're rocking people with the royalties. Can you clear that? Okay. 10:33 What's your take of me posting that thing, showing that I'm paying everyone? What's your take? How do you feel about it? 10:39 When I saw that, I'm like, okay. Yeah, yeah. 10:41 That was transparency. Oh, okay, okay, okay. Transparency. Because some people take it as even got to get flex and stuff. And I did that before. Before, I think I paid like 5 million to 6 million. So the following year, anamel, obviously, and stuff. And we're doing a lot of catalog and all that. 10:58 But I've been paying. We've been paying. Me and Kabza, we pay. But it's just that, I don't know, the misinformation and stuff and like, you know. 11:05 And that's why we want you here to clear up that misinformation. 11:08 Yeah, because you guys have said they haven't gotten royalties. 11:10 Yeah, and then I was punishing everyone who signed a distribution deal, because now they think that man is theirs. You know, like distribution dealers. 11:21 Sorry. Distribution deal, you run the label, right? And then, let's say about Kibangpa, 22 million. 11 million is minus, take home. 11:30 And 11 million is for royalties and features and all those things. And music videos and stuff. 11:35 I don't know. How do you share the master? 11:38 Yeah. 11:39 I get it 50. The label takes 50. 11:41 Yes. And you are the label. Yes, I'm the label. And then the other 50 is for the artist. 11:46 Yes. 11:47 Oh, so on paper it looks like you're taking Dawol. Nah, no. Like, obviously, I have to pay. I have to shoot videos. Yeah, you have to use the money. 11:57 And technically, Black Boy isn't you. Yes, you own it, but it's its own entity. It's half. For me, like Melindo, I share 50-50 with Sony. 12:08 Okay. 12:08 So if I'm Mac, I want to work with you. Yeah. When I work with you, we do a track. Let's say we've got soul on there. We've got other artists, whatever. What does that split sheet look like? Like, how does it work when I'm working with you? 12:19 When you're working with me, so there's two, there's two, there's publishing and there's master share. 12:26 Okay. 12:26 Right? So master share, the label takes 50. Okay. And then the other 50, we share it amongst us. 12:33 Are we sharing it equally or you are the big name? No, it depends. Mostly on that 50, I get what goes back to 100 again. The song is 100%. 12:42 So 50% is for the beat maker, the producer. And then the other 50 is for the lyrics. The guys who... 12:50 So if there's two guys that will share that other 50. 12:52 So if me and you did the beat, we'll take 25. And then if Mia Pearl sang alone, she'll take 50. 12:58 Yes. What? No, I'm laughing because with you, my producer does the beat and then Matumani does the lyrics. And then Matumani owns the label. Yeah, you do the beat also. 13:11 But it is what it is, though, you know? It's a smart way, though. You gotta admit, it's a smart way, bro. So really, that's like 75%, you know what I mean? 13:20 No, man. 13:23 Yes, yes, yes, continue. 13:24 Yeah, yeah, yeah. 13:27 But yeah, man, that's how it works. And then the distribution one? The distribution, you take 80% and then they take 20%. 13:35 Okay, so I don't understand the distribution one. Give me a song where that song was just purely distribution. 13:39 Distribution is... 13:41 I got a studio time. Okay, I'm at the studio. I'm making a song or whoever, whatever. Me and Sol and we will do a song. It's fine, right? Then I'll take the song and ingest it to Sony. Yeah. So Sony, they're just distributing. No marketing, no nothing. Just distribution only. 14:00 Yes. 14:00 So I'll have to do photoshoot, you know what I'm saying? Radio tour, you know, album launch and all those stuff. Yeah, yeah. 14:09 So that means the 80% goes to you for distribution and then I get 20. It's the same song though. 14:14 No, man. That 80 is going to be 100 again. 14:18 I get that. I take the 20. That 80, it'll change everywhere. Amongst us. 14:24 It's 100 now. But I'm eating both ways. I'm eating via distribution and I'm eating via the master. 14:32 No, no. I'm confusing it. No, no. 14:36 Okay, how am I going to make it easy for you? So look, Sony takes 20%. 14:41 I take 80%. Of distribution. Of distribution. 14:44 Of our song. Yeah. So, okay, let's talk about one song. 14:48 So that song, now in the... 14:52 100,000. 14:53 Yeah. 14:53 Right? 14:54 100,000. Right? 100,000. 50,000. Yes. That's a mustache. As a label. Yes. 10,50. 15:02 Producer everything. Got you. And then I'm saying that means on top of that then the distribution money 15:11 Yeah, I'm confused, man. What's 100,000? Is it from distribution? I think that's what he's asking. 15:19 Okay, so maybe... Okay, sure. I don't get 100,000. 100,000. Sony takes 20%. Yeah. 15:26 That's 20,000. Yeah. 80,000. We're going to share that 80. For 18,000, I'm going to take 40. 15:34 No, that I understand. But I'm saying the master and the distribution, is it two checks or it's one check? 15:43 For me? Or am I eating via the distribution as well? And I'm eating in the master? 15:47 Okay, good question. No, no, no, no. Good question. You're right. 15:53 So, Sony takes their 20. Yes. This is distribution. Get it? 100%. 15:58 They take whatever they did for their 20. Right? Then the 80, what's your master? 16:06 Oh, okay. So the... Okay, okay, I get you, I get you. 16:10 Oh, I get you. So what you are saying is that we've made a song together. We made 100,000. From that 100,000, the 20,000 gets taken. That is distribution for Sony. They've got nothing else to do. And then we are left with the master, which we split it via the label. So the label takes that 40. 16:28 And then we... Okay, I get it, I get it. 16:30 So hold on, man. So when Sony will give like a... 16:34 and advance that 20 meter, are they gonna recoup all of that just through their 20%? Sheesh. So that would mean this, so wait, maybe my math is wrong. Would that then mean that 100 million would need to be made for them to get 20%, which is 20 million in theory? 16:57 You get me? Because if they give you 20 million, 20 meter, and they're recouping that 20 million purely through their 20% distribution share. Yeah, because the catalog is crazy. 17:08 That's how you get to that amount. Because they're buying the catalog and future songs. 17:13 Yeah, so it's a business decision. We're taking a risk on this label. It's an investment, yeah. 17:18 Yeah, but they... 17:21 We have motivation because of Bacheca D sales. 17:25 Already that you're making, and they look at the rate of recouping. So you just don't thumbs up that number. No, no, no. It's research that's done. 17:33 I remember when you went to Electroboard, you went to Electroboard, you went to Electroboard, and they said, unless you're doing Mnanawe numbers, you ain't getting shit. 17:43 So yeah, you gotta support it. It's not just anyone who can go to labels and want any ridiculous amount. You gotta see how much your catalog is generating already. 17:55 Pori, I want to start from the beginning, man. Because I remember the first time I met Pori Penduka. 18:01 Oskido and Bobster. So I'm very close with Bobster. Bobster's my nigga since day one. So they were doing Sundays at Shush, the old who's who. Remember Shush? 18:09 Yeah, remember. 18:10 So I get there and the song, my name was popping. Like simply, yeah, my name was popping. First time I ever met Pori, bro. He was opening up for me because I was bigger than him at the time. 18:19 Yeah, yeah. 18:22 So he's opening for me and then I'm playing after him. He's like, yo, I'm like, yo, Bori, nice to meet you, man. I heard you, the guy who did, my name is like, yeah, man. If there's one song I regret giving away, it's that song. And then what I told him was like, yo, dude, relax, man. You got plenty more hits coming. 18:39 And look where he is now. You know what I mean? I don't remember. I don't remember. 18:45 I don't remember. 18:49 But I know Bobster was telling me that M'Jox is the one that got you to Kalaw. Can you tell us that story, man? 18:56 A crazy story, man. So... 18:58 Boma Piano had a Boma Piano in Kelimpilo. They had like an Afro jazz band, live band. They were like six-piece, seven-piece. So bassist, guitarist, two vocalist, you know, keyponist, drumist and stuff. So I started hanging with them because they were from the same hold, Block G, Sochanguwe. So Boma Piano and Kelimpilo are from Block G, Sochanguwe. So because they're doing music and I'm coming with a digital thing, computer, whatever, sometimes it's like when I have gigs, we'll do like a semi-live where there's just drums and keyboard and I'll DJ. 19:33 And that thing was kind of cool in our hood and stuff, right? So now I had a gig at Comfortella Park. It was a jazz festival. And then Trumpets was booked there. You were running a talk show? Yeah! 20:10 So everybody is like, I met the color of our guys, whatever. I met them jokes, the ones who work with us and whatever, whatever. Ah, then, after that, then we, he, then Thiro arranged a meeting with them jokes. Then he went to his house, you know what I'm saying, and stuff. And so obviously, he couldn't operate the computer, you know, properly. And I've been a technician, knowing how to fix computer softwares and stuff. Then I came there, I said, ta-ta-ta-ta. You understand? And then that's how we got along. 20:41 And then he introduces you to... Then I started working in his house, you know, whatever. And then I decided, I was like, I'm closing the shop. I closed the shop. I sold all the machines. I took the money. I said, I'm going to Jobeck. I'll see you guys. 20:58 Marajosi, up and down, up and down, up and down. Then finally, he took me to Kalawa. 21:02 Wow, the house, right? Yeah, the house. 21:05 But he cooked me first, you know what I'm saying? He cooked me first, and then he's like, Kalawa. Then I met all the pros. 21:10 Cooked you first how? What was he? 21:12 Obviously, like, you know, like, you know, you'll get excited and, like, do, you know, if you're not mentored in the music industry, you'll really do fucked up stuff. 21:24 So luckily I think I was lucky to get those tips. Be humble. You're just as good as your last hit. 21:37 Those type of things and stuff. So yeah man, when I met the guys, I started, you know, 21:43 Bro, I heard that when you were at the house, the Kalawa house. This is still around, man. Fuck, I haven't been there in years, bro. I heard you would chill like all day, 24 hours in the studio, watching Trumpies, how they do the bass line and everything. 21:55 Like, you were just camped in studio. Wow. I'll watch Spikiri. He'll make a drum loop. 22:02 Then you go out. Shazol, shazol, listen to the thing. And he goes, he does the bass line. Because the bass line is the king of bass line. No one... Yes. 22:11 But it makes sense. That's why you're able to tap into any genre and you can still kill it. 22:14 Yeah, yeah, yeah. 22:16 And then when you get to Kalawa, I know you started a group with Monuti, right? Or did you just do one song? What happened? 22:21 Bashanyana. Yeah, it was me and Monuti first. 22:25 Actually, Monuti got a deal because he was coming from Bumbu. So he was hot. Yeah, yeah, yeah. He had a sound, you know what I'm saying, and stuff. He was coming from Bumbu and stuff. So he was hot. So now I was just behind. I was just underneath Nyana. Yeah, yeah. You know, you got a deal, then we did Bashanyan. 22:40 And then I heard you went from Pori and then you called yourself Nevi. No, yeah, I was my Pori. 22:46 No, it wasn't Nevi first. I was my Pori when I came to... To Kalao. To Kalao. Yeah. Hey, Makrutman. Why is Makrutman? Why is Makrutman? Why is Makrutman? Why is Makrutman? Why is Makrutman? Why is Makrutman? Why is Makrutman? Why is Makrutman? Why is Makrutman? Why is Makrutman? Why is Makrutman? Why is Makrutman? Why is Makrutman? Why is Makrutman? 23:08 So they were making fun of me. It's like, imagine the stage you got. Are you ready for teaching my police? 23:26 So I was convinced. I was convinced. It's like, ah, it's fine. Let me go with the Navy. And then Oskiro's like, no, man, let's go back. Yes. So that was, we'll speak here in Bumatendru. I changed the name to Navy. Then Oskiro came back. It's like, no, man, you're my producer, man. 23:43 We went back to Mapore. Also, Knaves. You remember Knaves? 23:48 Then there was Knaves. And Knaves was hot. 23:50 He was cooking. 23:55 I had to go back. 23:57 So what songs did you do on Professor's album? Because Professor was hot that time. 24:00 Professor did Ujima play with... 24:03 Oh, I was in that video! Yeah, yeah, yeah. And some business. 24:06 Some business, yeah, yeah, yeah. And she has a bill. Oh, that's you? Yeah. Wow! And then... 24:14 But what Professor liked about me is like, the way I record, you know, the way I'm charming in the studio. I make the studio flow. That's my catch. 24:24 You're a producer, bro. 24:26 Yeah, but a host also. I make sure everyone is fine, you know, so that you finish the song. You know, because, you know, man, sometimes you can be stuck because you just got disturbed or ego, you know, So yeah, I recorded the whole album with them. 24:59 How were you working with Klep? Like, what was the process? Because I think then you collaborated a lot with him. Because from afar, it looks like you just were both producers. But what was the contribution in studio? He was just doing the Kleps, my man. 25:14 No. 25:15 Klep was just doing the Kleps. 25:17 So Klep is from KZN. He's from Devon, right? So when he came, he came with Sebobsin. The late Sebobsin. Yeah, Sebobsin. So when he came... Obviously, I saw his energy and he knew how to make drums and stuff. It's crazy. You see like gear, you remember? 25:33 And your sound was lit by drums. 25:34 Yeah, yeah, yeah. So we got along, you know what I'm saying? And then also he's very humble and we really get along. You know what I'm saying? We really get along. So obviously there's a part, if you see a young man is hot on the thing, I'll take care of other things. And that's where I started like singing and you know what I'm saying, rapping and all those things. So it was really dope. Then after, it was okay, it was me, Mono T, then after Mono T, it was me and Clep. After me and Clep, we added Limbil. Then later stage we added Mappiano. 26:04 Yeah, yeah, yeah. So Bax was not the member, it was just featuring. But he was a star. Yeah, yeah, yeah. 26:16 So people thought he was Uhur. Uhur, yeah. Yeah, yeah. 26:22 Bro, the competition must have been crazy because I think Kalao was running that time. When you were there, you guys were running the scene. I mean, you had 0.5, which was Heavy Cake. Yo and his crew, yeah. We had Black Moshi. It was you. Pex Africa. Pex Africa. Oh, Pex Africa. 26:37 Mix. Mix. 26:38 Mix. 26:41 So after I did My Name Is... My Name Is... With Zindler. 26:45 So Medda calls me, asked me, so yo, you did the beat. 27:00 Because it sounded similar like black moosh. 27:04 True, true, bro, true. That drum sound. 27:07 Yeah, yeah. But I knew it. It's not what he's trying to say. It's not what he's trying to say. It's not what he's trying to say. 27:26 But that's the game. You know, we get inspired. Even piano, everyone cups everyone. You know what I'm saying? Even dudes gonna come up with a sound. Everyone is gonna do it. That's how it is. We get inspired. 27:37 So what led to the decision to you to go to KOMU? 27:41 Ah, me, I'm a wave catch. Yeah, yeah. Ah, me, I'm a wave catch. When I follow the wave, I don't want to stick to one thing because you end up just doing the same thing. Not involved. 27:53 So you see Gome, you're like, ah, let me jump on this. 27:56 I can do this. That's fine, that's fine. 27:58 But then I think you were getting resistance from guys in Durban, eh? Because you're from Joben. I'm from even Pretoria. I'm not even from Joben. I'm from Pretoria. 28:06 I don't even know how to speak Zulu that fluent. So, I'm first down. So... 28:11 You know what I'm saying? But I'm back now. I'm back. I'm doing everything now. 28:17 Because you did that Moonchild with Busiso? Midnight Steering. Midnight Steering. 28:25 Yeah, with Destruction Boys and Root Boys. Yeah, that's where Root Boys, I mean Destruction Boys, that's where they took off. 28:33 So what led to the decision to be like, you know what, I don't want to be involved with these Durban politics. Yeah, because you didn't do come too long. Yeah, and I remember you said something about, let me leave this thing. And you seemed invested, bro. 28:44 Yeah, and also, I didn't know that the name come with... 28:49 At that time, I didn't know Okima Kulket was using that name, Gum Wave. Or maybe I saw it, I don't know. Then I dropped the Gum Wave thing. Then there was a problem also with that. So I had a query with them also, you know what I'm saying? But we fixed things and stuff. We cool, we cool. 29:04 So when you leave Gum, is that when Pianos now is the new wave? 29:08 Nah, that was Afrobeats now. 29:10 Oh, that was Afrobeats now. 29:12 A particular anesthesia. Yeah, yeah, yeah. Of course, of course, of course. 29:16 Chicana suited. Yes, yes. It's got an element of Afro and stuff. 29:20 Was that before you did piano? 29:22 That was before. It was before? Wow, dog. That was before COVID, pre-COVID, man. Oh, shit. Piano was just before COVID. Wow, so you leave home and you're like, let me focus on this Afrobeat stuff. 29:33 And I think also, why piano? Because Soweto Baby was really close to Amar piano. 29:38 I remember when he came to the side. 29:41 Yeah, Wiz. Yeah, Wiz. So when I did Soweto Baby, I slowed down the tempo because we were doing 125, 126. Yes. And also Wizkid was tired of the first beat because they can't sing properly. When everything is fast, it's like... Can't express. 29:53 Can't breathe. 29:55 So I had to take down the tempo, put it to 122. Then I did Soweto Baby. 29:59 And I feel like also that also was an influence for the piano guys to do. I feel like Soweto Baby influenced a little bit of Amma Piano sound. Because if you listen to Soweto Baby, now if you listen to Amma Piano, you'll hear this similarity. 30:14 Bro, can we close this topic once and for all? Where did Piano start? From the godfather of Amma Piano. 30:23 Look, it's East. 30:25 It's the boys, MFR Soul. 30:27 Yeah. You understand? Yeah. They were hot with mixtapes. 30:34 And then... Oh, Jay-Zig. And label caps are in between. I'm first done. And while that piano was popping, there was a... The Pichoria piano. Vocal Venfalo. Yes. Vocal Venfalo goes no deep. 30:49 Yes, yes, yes. And that was... The BPM was low. No, no, no. They're still fast a bit. Ah, 116. Yeah, yeah. 116. Yeah, yeah. 116. Yeah, yeah. 30:57 So now, when I started hearing piano, I heard it from Bo Calvin. It was the Pretorian one. Bo Calvin, at that time, they were doing remixes. 31:09 Let me tell you the crazy story about the Bebso Dumo song. The Bebso Dumo beat Ya Calvin Fallo. 31:19 It's the beat where whiskey and... 31:23 And our boy sang on. 31:25 No way! 31:26 To sing Spawn On. 31:27 No way! Spawn On! 31:29 Yeah! 31:31 And that beat is crazy. 31:32 Yeah, so if you listen to that, like, they sang on that beat, then I started to do a beat again. But that was Calvin Fallow's chords and stuff. Yeah, yeah, yeah. 31:43 Whoa! So you chopped Calvin Fallow? Oh! 31:46 He went to Ramakapa! He went to Ramakapa! He went to Ramakapa! 31:53 So that was the craziest story about this. And that was before I met Kabza. Yeah, yeah, yeah. So it was in the archives. So when Kabza came, it's like, I have a focus for you. I think this one, let's do this one. Yes, yes. So, MFR Souls. Yeah, but MFR, let's give MFR Souls the credit. 32:12 From my recollection, what I heard when I was still DJing, right, about my piano, I heard, it was Valley in the East, right? But it was during, like, you know, Bigs and Terry's times, where the guys, there was a lot of instrumentals, but there was a pianist on stage who was rocking piano. But then they dropped the BPM. What are you going to say? 32:53 But now you mentioned some two fellas here, man. You know, it's never great. It's never great, so we'll tell them afterwards. 33:00 Yeah, yeah, you'll see the show. Yeah, yeah, yeah. Because that's when I started hearing piano, when like, you know like my piano, the guy from Guru. You jump on stage on a beat and then play. 33:10 And normally it would be like an organ. Yeah, an organ. Organ solos. A lot of that sound, man. Yeah, actually my piano. That sound. 33:17 Meanwhile it's an organ. Everyone was dropping instrumentals a lot. Everyone was dropping instrumentals a lot that time. 33:25 You know what I'm saying? And also this... 33:43 Hey, man. What's your take for piano? What's your take for piano? First, first. First, first. First, first. First, first. First, first. First, first. First, first. 34:14 Like, what's your name? What's your name? 34:18 What's your name? 34:20 Okay. 34:21 Because, I don't know how to do it. You've got a class? 34:25 Yeah, so, I'm a producer. 34:27 I'm inspired. Yeah, yeah, yeah, yeah, yeah, yeah. 34:37 So when I began to pay my credit to my family, my family, my family, my family, my family, my family, my family, my family, my family, my family, my family, my family, my family, my family, my family, my family, my family, my family, my family, my family, my family, my family. 35:06 Okay, okay, okay, okay. 35:15 Welcome. 35:16 Welcome. 35:17 Welcome. 35:18 Welcome to the weekend. 35:21 Welcome. 35:38 Hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, No, no, no. 36:08 Kabza… Just pick up the mic first, please. 36:23 No, Kapsa, I was doing a show in Soweto. Brilliant, right? Yeah, brilliant. 36:32 So you know when you're a promoter, man, I'm not from Soweto, right? So I'm not from Soweto, right? 36:47 So I knew, I knew, hurrah man. 36:54 I have to ask that around and then it's like, who's the hot DJs here? You know, just to beef up their lineup to make it exciting and stuff. So no, they told me, no, Stokia and Gabza. You know, so it's like, I did that. Then I booked them. 37:07 And then, but... 37:09 Luckily, okay, at that time he was popping also because he had Mshove and that one Mabele. Mabele, Psyngen Daughter, you know what I'm saying? So he was popping also and stuff. And then already, I mean, I've already worked with Snow Deep and Tumza de Kota. 37:24 Go on. 37:24 Yeah, and that side, the other side. And also, how I found out about Gabza, getting mixtape. So when I was going to like the Shesha, Sneaker stores, I would play mixtapes and then I was like, then the YouTube book, Gabza, mixtape, whatever. Then there was this mixtape, I really did remix it. Oh, cool. 37:53 So every time when I travel, I'll listen to that mix. I'll repeat it. Let me go driving to Dewey and I'll play it five times, five hours. We'll understand. Because it's nice. It's chillas. You know what I'm saying? I'm smoking my plant. Everything. So that's how I started knowing him. Then I felt I booked him. Then when he calls me, he calls me, So the nice thing about Gabza is like, I didn't want to repeat the same history. I had an opportunity to sign him because when I was doing the legal stuff and whatever, paying Umalachi to get him out of the contract and I was like, ah, but something came. 38:29 It's like, Okay. Let me take a risk. Okay. Let me take a risk. Let me take a risk. 38:56 That was the best decision. Ever. Ah, best. Ever, ever, Poisin. Best, best, best. 39:01 Because when you guys, what you guys have released, and when you guys get in the studio, I don't know what happens, but it's like the closest takeover, Poisin. Yeah, man. Ah, it's magical, dog. Ha, ha, ha, ha. It's special. 39:11 Yeah, yeah, yeah. So I had to, I had to, I had to like, you know, and school him, and then I felt him. Because you're from the school of Kanawha. 39:19 Spiritually, I felt him. You felt him. I felt him. 39:22 I was like, this guy is very special. You know, and I need to take care of him. 39:25 Now, did you take him through the process that you were taken through by him jokes? 39:31 Yes. 39:31 You're like, yo, be humble. You're as good as your last hits. Is that why he lives in the studio now? That guy was a clown maker. 39:37 That guy was stressing Chuli for, yo. Stress, yeah. 39:43 I need to turn the sound, you know, my speaker. He likes sound. He's got sound now. He can make a festival with the sound. If you're making a party, book his sound. And he laughs. Too much. 39:53 He's obsessed. 39:55 So that night, he bought the speakers and whatever. So he went to test drive them. I want to go to LAXE. Test drive the speakers and whatever. And he had a gig. 40:03 And he didn't want to go. 40:05 I understand it was in Rustenberg. I didn't have a gig that day. Tuli calls me and says, hey, I have to start the goal. I have to start the goal. I was a manager. I was a road manager that day for him. I didn't have a choice. I'm there. 40:23 And I gave him a nice offer. He says, no. 40:26 No way to be found. I had to go to Alex, fetch him, go to the gig and come back. Obviously, I started, you know, but patiently, you know what I'm saying? It's like, you know, I just need to be patient with them, you know what I'm saying? Because, you know, we're from the hood, all of us. You know what I'm saying? So sometimes it's like, at peak time, he loved going to the hood. He would dress up nicely, smell good, take his rider, nice car, go to the hood. 40:54 Okay. 40:54 You know what I'm saying? And I started telling him, I was like, ah, boy, this thing of going to the hood, ah... You know, cause the whole genome and sometimes it's like, ah, how do you say that? 41:04 Take no more now. As much as you want to inspire people. Yeah, but... So I started, I was like, ah, boy, not about how you can see it. 41:14 Yeah, yeah, yeah. Because I know how you can see it from the hood. Like, it's like a park golf. I had the six by nine people at Sound. 81, but when I woke up, I hear my kaka. 41:32 I hear my speaker and the sound. 41:36 Even if they want to do a house burglary, they'll take a dump, a shit, right? Yeah, it's a statement. Right in the middle of your lounge. For real, they'll take a shit. I said, Cassie, I'll see you guys. Yeah, unfortunately, man. Unfortunately, yeah, guys. 41:52 Guys, artists, if you have money, you feel like you can just stay in the bed. As soon as you can. We see Gabza with these pans away. Yeah, yeah, yeah. 42:04 Do you move the pans away or it's not your thing? 42:06 I mean, you know, my mum, part of my mum is a mini, she's got a ministry, I mean, you know what I'm saying? Even this time, she's going to open with a prayer again. 42:16 Oh, yes, last day, last day, yes, yes, yes. 42:20 Yes, yes, yes, yes, yes. Yeah, so I mean, but it's both, but my stronger part is, you know, you know what I'm saying? My mum's side, you know what I'm saying? And then she's got a ministry, and then, you know, I need to continue. That's why we do gospel songs. Oh, yeah. Yeah. 42:38 So we're continuing that, but it's balanced, you know what I'm saying? So it's spiritual also. We can't forget where you're from also, you know what I'm saying? We are Africans. So it's a balanced thing. 42:47 Bro, let's talk about the music, man, because you've got so many hits and, you know, we could talk all day about the hits. But I feel like, yo, you know, when piano for me landed, because remember, I used to go to SNK, before it was SNK. Oh, you used to go there? Yeah, when it was just instrumentals, no vocals. Instrumentals, yeah, yeah. 43:03 what was it called before? 43:04 Ingress. Ingress. 43:06 Yeah, yeah, yeah. 43:07 Then, for me, I was like, when I went there, and I'm like, hey, man, this is just noise. It's the same song for an hour. You understand? It sounds the same, right? But for me, when in the transition, I'm like, this shit is dope. Was Tender Love. 43:19 But it was after. Yeah, it was after. 43:21 But I'm saying, that's where for me, he woke up. Yeah, I'm like, this shit is bang. Tender Love, Love You Tonight. During that time, you understand? 43:30 And 43:32 Tender love, how did that come about, dog? Tender love? Yes, dog. Tender love was insane, bro. 43:37 Tender love. Again, obviously, at that time, Shasha was... 43:41 Shazza was working with Shazza, working on a project and stuff. And really, Kabza is there, so... How it started? Kabza started with a voice. You see that? Hello, hello, hello, hello, hello, hello, my darling. Yeah, that's Kabza's voice. Today, he started with that. Then, Shazza flew, flew after that. Fucking hell, dog. Those were the, those were the... Hello times. Yes! Othala Stokie times. 44:07 You understand? Superman! Yeah. 44:09 Yeah. 44:10 Superman is fire, dog! When you're in studio with Cubs, how does it work with you guys? Does he do the beats and then you... He runs the show. I mean, I just... When you hear something, you're like... 44:21 I don't want to disturb that guy. I'll come where I know I... You know, because at that time, I was doing the mixing stuff. Because you remember piano? Piano guys didn't mix and, you know, do the technical stuff. I just, when the song is done, lock drum, whatever, they bounce. No mastering, no mixing, no nothing. So, I mean, I was playing that part. Mixing, balancing the, you know, because, I mean, I've come from Kuala. You know, and Bruce taught me how to mix. You know, Bruce was the one who mixed all the songs. So, he taught me that. So, I mean, I play, come up with, you know, beats there. 44:52 But other than, because I had an Afro influence. So, every time when I was doing piano, you would hear this Afro one percent or whatever. And it's like, aye, aye, aye. Let me slow down. Let me learn. Let me learn. I started learning. When we do TRP comes, like, I sit there, I see how he makes his trumpet and so, you know what I'm saying and stuff. Then at least I started, you know. But I never wanted to be the... The forefront. The face, yeah. The forefront guy. 45:16 Bro, you've got so many hits. What is the art of making a hit, dog? 45:21 Now it's different. For the new kid, he's fresh. 45:25 But for me, I go hunt. I go hunt it. You know, I have beats. I play beats first. See the reaction. If the beat is moving, if the beat allows me to put someone else. You know what I'm saying? But I'm already confident because now I've played the song and I've saw the response, how people react to it. They love it. You know what I'm saying? Then I'll put, you know, the vocals and stuff. And sometimes it's like a trend. Sometimes it's like... TikTok stuff, you know what I mean? Like, you know, those type of things, you know what I'm saying? Incorporated. 45:55 Yeah, because some of these songs, like Bacardi, Bacardi, most of the songs, we take a fast song, you know Bacardi is like 22, it's fast. 46:02 Yeah, yeah, yeah, it's fast, yeah. 46:04 Then we slow it down. And we take the same bass line and now we add, now it's piano, now it's different, you know what I'm saying? So... It's different ways, man. Sometimes, like, I feel a flow, I've got a flow, I start with the flow, you know, I'll sing, I have a melody, you know. It's different, because me, I sing, I rap, you know. 46:22 Is it true that Cezo Ellekaden was writing your raps? 46:26 No. No. 46:27 Yeah, who wrote actually... I spell this line, one line only, that's it. 46:33 Who wrote... Me and Dali, me and Dali. 46:36 For real, though! 46:37 Because then we heard KO, shooting it on season, for real, that verse is eternal. 46:45 Even there was a line, there was a line I had to sleep, I couldn't do it. Because it's a tongue twist. There was a line I had to go sleep, I said, you know guys, let me go sleep, I'll see this thing in the morning. 46:56 Let me go sleep. There's the one that's lying, it's like. Yeah, yeah, yeah, yeah, yeah, yeah, yeah. That was you, my dick. Oh, you wrote that, bro. How long would that take you? Okay, you ain't gonna have to sleep over it, so. Including the sleep. But look at how he came on. That's beautiful, bro. When I heard that verse, I was convinced. But yeah, I know your rap skills are dope. 47:22 so you know I'm asking you how do you make a hit right because when I was with Khosi from Ambitious he says when you make a song right you must think about if I play the song at 3 in the morning at the club are the ladies gonna sing if the answer is yes it's a hit 47:38 Yeah, I make music for the ladies. I DJ for the ladies. Rock the kids! Rock the kids! I ain't getting about fans. I ain't getting about fans. 47:48 I ain't getting about fans. I ain't getting about fans. If you want to please the girls, I'm sending. Yeah? 48:00 I play for the girls. 48:03 That's how Rock the Girls started. Rocking the girls. 48:07 That was also his policy. 48:10 So you agree with that, with that mentality of like... For me, but Kabza works the other way around. 48:16 He plays an exclusive... 48:18 You understand? Actually, for Kabzada, they're excited. I feel like the audience are excited to hear the new stuff. So that's why he can't run away with it. He can play. There was a time there was 20,000 people, first track Kabzada exclusive. 48:35 Oh my God! LAUGHTER And he doesn't compromise. He doesn't compromise. He doesn't compromise. No, no, he doesn't, bro. 48:45 And that time, he's got so many hits, we're like... 48:48 He sticks to his guns. Yeah, yeah, yeah. People will tell you... He sticks to his guns, bro, in a quick moment. 48:56 Yeah, yeah, yeah. So, hey. But he's confident. He's so confident. And he's like... 49:02 I think he's the guy. You see, like, Kofi, how he moves, like, Kofi must play your song and your song is big. That's how it is. A lot of songs, I thought, it's Cubs are songs, but he was breaking them, like, oh, Togoza. Togoza was same deep. His was the one, first person. Even that one, the new one with Jaivani, now that bass... 49:20 Oh, yeah, yeah, the one. Yeah, yeah. I've seen the video with him and Oscar Mbok. Yeah, yeah, yeah, yeah. He broke that song. 49:25 That's so funny. Ibele is big now because Cam's have played it. 49:27 No, I'm saying Debele, yeah. 49:29 It's all Ibele, Ibele. Ibele, Ibele. It's a big song. 49:33 No, no, not that one. Ibele. 49:36 Yeah, you start to get bass. Man, I got the song here. You start to get bass at around 106. 49:42 One minute, six seconds. Almost like he's... Yeah, yeah, yeah. Even the Kambz are like broken. You know, yeah, when nobody knew it. 49:53 Yeah, even the one that is popping now. The one with Kambz, the dark one. It's on the charts now. Yeah, yeah, yeah. 49:59 This one, man. 50:00 Bro, I want to ask you Mnige, right? Yes. Because Mnige, I was at Tyler's house when I was still in Midray. Umoyed. 50:06 Do you know Umoyed? It's number two now. Siraz. It's Zawadi. Is that piano? You don't know the song. You don't play. 50:15 Umoyed. 50:16 No, I know Umoyed, man. Isn't it... Tak, but it's a remix. I'm a piano remix. Yes, yes, yes, yes, yes. 50:22 No, it's... 50:28 Man, Umoyah, I'll tell you, I even asked the guy for the exclusive. What do you do, Zaman? 50:33 Works with Kevin Momo a lot. Yeah, man. He did. Tycoon. Tycoon. Tycoon. Tycoon. I know more. I even asked him for it a few months ago. Sorry, man. I've retired from DJing, guys. You don't DJ? No, no, no. 50:49 You don't DJ? It's a young man's sport. It's a young man's sport. I don't know what you guys are still doing, my man. 50:53 He's playing golf with old white men. Fucking business. That's my nigga right there. Makes me proud. 50:59 He played golf with all white men. I haven't did it in like three years. He doesn't do it in his house. He ain't a tycoon no more. Huge. So I met Tyler. Tyler ICU. I met his house when he was still staying in Midrand. So I walk into him and I had an idea of a song in my head. And he was busy cooking nige. So I walk into the session. I've got a bigger song. I've got a great idea. 51:27 At that time, they were cooking me, dog. Oh, you do? Yeah. How did that end up on your lap, dog? Because you were not in the studio, bro. Oh, he's my artist. Yeah. Tyler, I see you. 51:36 He's my artist. So it happened in the studio. 51:38 No, he's my artist. I cooked him. He was doing hip-hop. Those boys, Mess and Tyler, they were doing hip-hop. No way! Mess music was doing hip-hop! Hip-hop. He was too much with the hip hop. No way! Bro! You don't know Vaino Miller? 51:52 That's the Vaino Miller one on Big Brother, yeah. 51:54 Yeah, he was doing like hit trap and trap show. Yes, yes, yes. They were doing hip hop and we transformed them to piano. 52:00 So when do you hear Mnige for the first time and when do you say that? 52:04 Mnige. Mnige. 52:08 No, nigga, it was a TikTok thing, man. This girl, this small girl, small kid was dancing that dance challenge. I think that's the thing that made it big. Yes. 52:18 So you didn't identify it before that? This is going to be possibly a big song before that Twitter, that TikTok trend? 52:26 Yeah, but... 52:28 What happened? I played it at Konka. I think I played it at Konka. 52:31 So Tyler IC cooks it, right? Yeah. He sends it to you? Yeah, he sends, he sends. Then I play. Then you play. 52:36 Then videos went viral. Oh. Yeah, there was a video, man. This friend, Yaga Maestro, man. When I was playing at Konka, he was dancing there. He was doing the... Oh, that guy with the green. Yeah. 52:48 And he was wearing a pink... That was super viral. 52:54 Then you're like, let's push, let's go. It went. It went. It went. 52:59 I love that video, bro. But this was your brother, no? 53:03 Yeah. Holy shit, man. That's dope. Bro, tell me, man. When you dropped your album, what's the name with Abantuan Abako? 53:11 Umoya Ngomoya. Ngomoya, yeah. 53:15 Kamsa then drops Babu Mota. And my whole thing was like, yo. And there were songs on Babu Mota that were great, but Abantona Bako is like a massive song till today. Was there no Tagovonya? I want it on my album. I want it on my album. I want it on my album. 53:35 I want it on my album. I want it on my album. 53:41 This system is mine. 53:42 I made this thing. Yeah, yeah, yeah. 53:43 Yeah, yeah, yeah. Yeah, yeah, yeah. 53:45 Yeah, yeah. Yeah, yeah. Yeah, yeah. Yeah, yeah. Yeah, yeah. Yeah, yeah. Yeah, yeah. Yeah, yeah. Yeah, yeah. Yeah, yeah. Yeah, yeah. Yeah, yeah. 53:49 Yeah, yeah. 53:49 Yeah, yeah. Yeah, yeah. Yeah, yeah. Yeah, yeah. Yeah, yeah. Yeah, yeah. Yeah, yeah. 53:52 Yeah, yeah. Yeah, yeah. Yeah, yeah. 53:53 Yeah, yeah. Yeah, yeah. Yeah, yeah. 53:54 Yeah, yeah. 53:54 Yeah, yeah. Yeah, yeah. Yeah, yeah. Yeah, yeah. Yeah, yeah, yeah. Yeah, yeah, yeah. Yeah, yeah, yeah. Yeah, yeah, yeah. Yeah, yeah, yeah, yeah. Yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, Especially now. These songs, they go viral first. 54:08 Something needs to happen. Someone needs to post a moment or whatever. 54:13 So we did a launch of the album. We knew that the song is like… We knew it was like, hey, this song is strong. He was telling me… then sharp and he said I'm fair because he had I think he didn't think that it was going to be like this big so I did a lunch some spins place invited everyone get couches buy alcohol food and whatever and we're going to shoot the mix right so shooting the mix we play so Tata Hots is dead So Tata was holding a harbly, sitting on a chair or whatever, singing this song out loud. 54:50 I understand. Then that video went viral. 54:53 I understand. 54:54 Then, you understand. Then it became big. Fucking hell, man. What are your top five songs in piano that for you personally, you're proud of these songs? My songs are just in general. Just in general, right? And you know why I'm asking that? Because there's a song you and Cubs released. It never went big, but it's still to this day one of my favorite songs you guys have released with Amos. Yeah, yeah, yeah. Yeah, yeah, yeah. 55:22 I love that song, my man! 55:23 But it never went big. It never went big that one. So my songs, my songs, my songs, my songs. Now or like the whole piano? Yeah. Like the whole piano? Yeah. Or just now? Recent hot songs now? 55:35 Let's talk about, you've been in the game more than 10 years doing piano, right? Ah, seven. Seven. Top five songs that you've released that are close to you, bro. That you're like... 55:46 That's true. 55:47 Abalele and Asiwihib. When I'm outside, I can't. I have to play those two songs. Even now bro. 55:57 Classics. And I can tell you had a part to play in those songs. I can tell. You were very instrumental in both those songs. I can tell. How can you tell? The structure. The structure. The structure. 56:10 I think you did the arrangement somehow. Arrangement, few things and mixing. I mixed them. I can tell. That's what I'm saying. 56:16 I can tell. It's got the hand of Pori. How do you guys identify Ami Fakou to work with her, man, on my piano? Because she's like from a soul, Afro-soul vibe. And how do those songs come about, by the way? 56:28 Kabza's office. 56:31 Kabza's on fire, bro. Kabza's on fire. And Kabza also is like, the way we were working at my house, it's like, you know, there's camps on camps. In Kabza's house, it's a camp on camp. Every day in camp. 56:42 If this one's, they go, cause other ones. You know what I'm saying? It's got sessionist, you know what I'm saying? It's just musical. You know what I'm saying? So, and I think they did those two songs in one day. 56:55 And Dali was one... I'm sorry for that. I don't know who took Dali on Asi Be Happy. Dali had a verse there. Asi Be Happy! He had a verse there. But I... 57:17 You know, this is sometimes, I get it's a feeling. I get it's a song, it's a feeling how you feel. It's your song. If you feel like Ish Dali is not landing there. You know what I mean? Where I got humbled about not knowing what song is the hot or whatever. When I had... Look at Deep. Dun dun dun dun dun dun. 57:40 Fairy tale. Fairy tale. 57:41 Yeah. 57:43 What's this? 57:44 Yeah. Yeah, that feeling. That feeling. Yeah, yeah, yeah. Fairy tale. 57:48 No, no, no. For me, it was like... 57:54 Because it was new. It was a new sound. It sounded cheesy. Maybe after two months, I was humbled. 58:13 That's why I said, okay, you know what? I don't know what people want. Actually, me, I'm just gonna do whatever. You know what I'm saying? Because you listen to a song, probably that's how you feel. Maybe Lulele Midiaha or Amy. What about Dampil or Ana Zak? I know what my penis is. 58:30 After two weeks, Gamzawa told me about Shesha, the same thing. Yeah, Shesha Geza. Because Shesha Geza, you know what I mean? Yes, yes, yes, yes. I had the same feeling as Shesha. I'm like, oh. She's a bimbo-bo-ti-la. 58:43 Yeah, yeah, yeah, yeah, yeah. Yeah, yeah, yeah, yeah. Yeah, yeah, yeah, yeah, yeah. 58:52 Yeah, yeah, yeah, yeah. 59:06 So with me, with music, it's like, I don't know. 59:10 Which song could you have had? And then you gave it away and you're like, oh, it humbled you. Because I know when I was speaking to Kabza, Kabza said he could have had your song. 59:21 What's the guy from... Yeah, yeah, yeah, yeah, yeah. What's the guy? 59:34 Last born as well. Yeah, last born as well. Yeah. I was like... 59:40 Done. Same day. I was like, as soon as I listened to it, I'm like, yeah. I have a year and a half, bro. I was like, yeah. I was like, yeah. And they were sitting on it for like months. 59:50 They gave it to them. 59:51 They were like, ah. So it's music, but we don't all hear the same thing. 59:55 That's a lot. That's a lot, meh. 59:58 Adently, I was not prepared. My name is... No, you're still young. I was still young. 60:03 And it's called school fees. You have to pay the school fees. 60:06 Yeah, sometimes it's like you can have a hit and then you're queen. Like, you're bigger than you. Yeah, yeah, yeah. So, like, timing is very important. Because you're queen. It's one song you're queen now. 60:19 So, there's no song out there that you passed on and you're like, shit, I missed out on that one. 60:25 Hmm. 60:29 I would say particular, but also it was like, nah man, not even particular, because it was, you know, I had a song, they had ideas, then they worked in, they put in some elements and stuff, so nah, nah, nah, nah. 60:45 And then One Dance, how does One Dance come about, bro? No, no, no, no, no, no. 60:50 You know, I was telling Sol that that's one of Drake's biggest songs. And he doesn't believe me. 60:54 No, no, I didn't, but I believe now. I was going to Google it. It's one of his biggest songs. 61:02 Worldwide, my nigga. 61:04 Worldwide, my nigga. 61:05 But I didn't produce it. It was additional production. It was additional production. Please explain that. I think also Drake's producer was there also. For me, I was with Wizkid in LA. Okay. I was working with the only staff and stuff and he told me, like, yo, Drake sent me some stuff, you know, then I did some, my small, small edits and whatever, but it was additional production. 61:30 Okay, but do you get royalties on that? 61:33 Yes, sir. 61:36 I'm kidding. 61:44 You can imagine the realities on one day, Tom. And then Particula, let's talk about Particula, because I remember when Diplo came, I was at the same gig with you in Newtown, remember? Diplo, yeah, yeah, yeah. 61:57 When Diplo came. Newtown, yeah, yeah. 61:59 Is that when you first meeting him? 62:00 Yeah, I think that was the first time meeting him, yeah, yeah. That was the first time meeting him, yeah, yeah. Particula is crazy, Tom. 62:06 The numbers are insane. So how does that song come about and what did you do on that song? 62:10 That song, I was inspired. That was the time I was just clubbing in African clubs there. You know what I'm saying? And then I would hear the style of us like, oh, they like this type of chords and stuff. Then I got inspired from there and then I did the beat. Actually, that song was supposed to be a Major League song. And it's to see. Because this way a line is saying Major League. I thought it was talking about... 62:37 Diplo's... No, Major League. There's a line that says... That's Major Lazer. 62:40 Major Lazer. 62:40 No, that's Major Lazer, but on the line, Nasty says Major League, whatever, whatever. But they recorded... So it's like I was... 62:48 I think it was supposed to be Major League song and stuff. 62:52 Wait, Por, explain that. 62:53 How does it become Major League song if you did... Because they're the ones who came with Nasty C in my house. And then we were just trying to work and stuff and stuff. But that song stayed there. Then I sent it to... It was a demo. Then I'm not being finished. Then I sent it to... 63:10 Deep Blue. 63:10 Deep Blue's team. 63:11 Yeah, then Deep Blue. 63:13 Yo, that song, that's a crazy story. 63:20 The crazy part of that song, I had acorn on that song. 63:26 Acorn? Yes, there was acorn on that song. Wow. And they took off Enko and then they put Jiden. 63:33 Yes, yes, that was the final song. Yes, yes, yes. That was not my decision. I didn't have powers to, you know what I'm saying? 63:39 Oh, so when you say it was meant to be major leagues because they broke Masticity. Actually, it was supposed to be their song and whatever, whatever. 63:46 Then, but we didn't release, oh, you know those songs, it's the demo. Yeah, yeah, yeah. 63:50 You know what I'm saying? We have a demo. Then now, Elaine said, man, send some demos to Major Lazer. They're working on an album, whatever. Then I put that song and then, luckily it was the song that we chose. Shout out, man. 64:02 That song's powerful. Yeah, that's powerful. 64:05 What's the collaboration of your dreams? Like, who do you want to work with? Now? Ah, I'm fine. 64:15 Beyonce? 64:19 Oh, man. 64:21 Yeah, I'd love to work with Kofi. I'd love to drop some stuff. Kofla, you know. 64:26 By the way, you gotta take a shot. 64:34 What's the grand show? You gotta take a shot. Okay. There's a rule. When you mention Kofi's name, you must take a shot. I love taking shots, bro. We call him my friend's neighbor. 64:42 Kofla. 64:43 Can you get the grand show? They must take a shot there. 64:46 I have a Chilla's Punch as well, man. Yeah, yeah, yeah. Which flavor is it? Tandek, a Tandek. No, it's not here. You only come with one, bruh. It's limited edition, guys, even for us. 64:56 I just want this one, dog. 64:58 Yeah, yeah. 64:58 You've never had a Chilla's Punch. 65:00 Have you heard it before? For real? 65:03 Aye, aye, aye. It'll be your first time, my dog. 65:05 I want to Amare. Amare. 65:08 Yeah, so we work with a lot of streamers and brand ambassadors. We try to hit you up because I wanted to sponsor Birimaru. 65:24 And I was mad. I need food. 65:28 Yeah, it was bad that time, man. You just want to eat a dick, bro. 65:32 So, yeah, he wasn't having it, bro. Tell him, man, to eat a dick. So you want him to eat your money as well. Let's talk about... Oh, thank you. 65:42 Thank you, man. Shout out, shout out. Let's talk about the Ibiza DJ set, bro. Yeah. Because we spoke about it, right? Yeah. And we were not happy because, like, you know why? You weren't. Yeah, I wasn't happy. Yeah, I wasn't happy because you guys are the biggest face when it comes to my piano. 66:00 Don't leave. Wow. 66:07 Piano? Yes. I think piano, but that's like 122, 123 in stage. It's too slow, bro. It's too slow, that thing. Way too slow, fam. 66:14 But do you understand, before coffee came, before Efra House was a thing, they were playing EDM, which was like 130, David Guerra Cavaliers. But someone had to play what you guys are playing now for it to be a thing. 66:27 That community is far, dog. Like, there's no link at all. There's no promoter wants to do that. Like, ah, bro, ah. 66:35 There's no reference. Ah, bro. Because what Kofi was playing when you got there versus EDM, they're almost in the same neighborhood. And it's still fast. 66:45 But what I'm saying, piano is far, right? But good music is good music. right the reason a song like Abalele you can go to the you can play it and people don't know what you're saying because it's got soul it means something you know music you understand music right so there's even a song like in Ibiza where no one knows what they're saying but it just feels good right and obviously I'm a piano right now in Ibiza it's not big but someone has to be the first to break the barriers and break the wall the same with coffee must I crawl for them again No, no, no, no. 67:20 I'm saying if it's not you who are going to break those walls, who must? Because you guys are the leaders of this music. 67:27 Of the genre, of the piano. 67:29 It's all about the audience. Do they love it? And I don't think they love it. But how are they going to love it if they don't know it? 67:38 You understand what I'm saying? 67:40 So if the promoter is not willing to take the risk, nahe. So I have to be the promoter, go there, stay there and create gigs, I'm fine. 67:49 Because Sol had a different perspective. Can you tell him what you were saying? 67:52 No, no, I was saying you guys are assimilating, get accepted, and then change the sound from within. Just like when Black Coffee, Black Coffee now doesn't make songs with venec. And he said that it was intentional. Because you have to, when you're in Rome, do as the Romans. And over time, slow nyana the tempo and then bring nyana the piano. So by the time the guys leave Ibiza, they came and they conquered and changed. But to come there first time around and just make a statement like that, It's like getting to America and making your first speech because you're the Zulu king and people are just looking at you. 68:32 Maybe the producers need to make bootlegs of Amar piano and take all the hot songs that one is like. 68:40 And piano is gassy. 68:43 That side is, you know. The rhythm, the groove is totally different. 68:45 The skin color is different. You know, we play for duggies. There is like... 68:50 Music transcends all. 5% duckies. 68:53 Not all the time, bro. Not all the time. Remember what he said when he started making piano? He had a lot of afro and it was not really connecting with the piano guys until he had to sit back and learn from Bumdu. It's just got a different DNA, man. 69:09 That's different. 69:10 Tell me. Totally. Tell me. 69:12 Bro, I know you love Manny, bro. You love the good things in life. 69:16 Is coffee the benchmark, dog? How? Because, like, you know, Pori's rich, right? He's got money, right? Yeah, yeah. But when you see Kofi, you're like, okay, shit. What type of rich? 69:25 I mean, you stay, you stay, come on, bro. You stay here to Ta Vinci, what about today? Yo, shit, come on, fam. When you mean Kofi, like, boom. Come on, I work, dog. 69:35 We're not even coffee, dog. You're like, shit, that's different. 69:39 I remember flying with Krutman in Fana, going to Miami conference. We were taking economy, both of us there. That's tough, dog. I saw him. 69:48 A builder, builder. Had to sacrifice... It's like Alba Fitch, he's in South Africa, sharp. And he did all, he ticked all the boxes. He was giving us good music back then. He doesn't have to do those things again. Even me is like, I don't have to do these things again. I need to, you know, add up and just, you know, grow. Because here, you know what's the crazy part about South African promoters? 70:18 They give you 100,000 this year. Next day they give you 8. Next of next day they give you 70. Next day is your friend is giving you 40. 70:25 You're not going up. 70:26 The other side is the other way around. 70:28 They give you 3,000 euros. Next day is 6,000. 70:34 You understand? When you hear Kofi is playing at Haibiza at 250,000 pounds at night. 70:42 How much is that? For six months. 70:45 For two hours. You understand? For six months. Yo. 70:48 Oh, come on. 70:49 That's insane, right? That's... Bruh. 70:53 Send me a WhatsApp. 70:55 Yeah, yeah, yeah. 71:03 You know what, I'll balance this thing, but no. Because otherwise, you know, we have to do small clubs, we have to do... And it gets boring here now. So are you going into Efrotech or you just... No, I'm going, I'm going, I'm building nicely. Producing? Yeah, now I'm fully producing there. You're going to fuck it up, Paul, you're going to fuck it up. Oh my God. 71:27 I get what it means though, because I mean you've proven yourself as a producer. You started with house dog, you started with house. 71:35 You started with afro, afro kiss on the house. I'm not with house, actually it's not even afro, it's house. It's going back to house. 71:42 Bro, the chillers are going to kill me if I don't ask about the people you've fallen out with, right? Where are we with something so weird? Are we cool? Something so weird though, it's just they don't blow a kill. 71:54 For real? For the ticket? Yeah. Wow! He said no. He said no. Did he send a message or whatever? We were willing to give him five sleepers. 72:14 Bro, what happened there, bro, man? Because you guys were making good music, man. Yeah, man. And the song was amazing. 72:18 He started a new wave, bro, yeah. 72:19 Remember those Amalang Awafan? 72:22 Ah, Amalang Awafan is a crush out, fella, for me, fella. 72:24 I crushed out. 72:25 That's what started the line. Yeah, the memes. Thank you for the memes, man. Can you tell us, obviously, if you want to speak about it, you don't have to. 72:36 Man, it's sad, man. It's just that, man, I wish you can, like... No, since I'm a flop, obviously, you know, but it has to be bigger than us, this thing, you understand? It is bigger than us. So, I don't know if I explained it properly and stuff. So, what happened with our deal in him, right? 72:57 He gave us a mantombazan, right? 73:00 And I knew, you know what? 73:04 Somehow I felt it somehow. It's like, this guy gave us a hit. We need to give him a hit so that we become balanced. If we're going to have problems, we're going to say, take that money, we'll take that money, those type of things. Yes. And you don't want to take it? Yes. You understand? Yes. 73:18 I made sure that he gets a hit so that we become balanced. So we gave him Akla Lake. Akla Lake was Shasha's song. Listen to Akla Lake. 73:27 It starts with Shasha, Shasha, then he finishes. You understand? 73:31 And it was trending because Toki was playing it at Ingress and stuff and stuff. So I knew it was like, giving him this guy made him even going to be balanced because he gave us a hit. Amantong Bazzana was nice and stuff. 73:41 And then, I would think. So now, the problem is... 73:48 he wants to own all the masters. He wants, you understand, he wants to own his masters because that was his masters, right? Yes. He paid for that. Yes. He paid for that. 73:57 Platoon paid for that. They gave us a fee shop for studio what, what, what, what. Gotcha. 74:00 So he should have said, he should have said, we should have paid him also Yeah, you also present the right to also pay and own the masters. So now, the problem is it's like, how? And now you want Amantong Bozana food. And it felt unfair. Yeah, that was the greedy part. Because it's like, now, okay, shut up. 74:35 That was the problem. And I heard, like for me it was like, ah, this guy. 74:47 And I've heard, and obviously if he's watching, he's got a right of reply, but I heard it's very difficult to work with. 74:53 Yeah, it's difficult. I'm running out of here, man. It's difficult. 74:58 For me, like, I'm afraid to cancel a pina. A pina a lot and I don't forget the pina. 75:26 For me, I was so confused. 75:33 And Mers also played a big role when he was recording his album. He's a perfectionist. 75:41 He'll make 2,000 takes for one take. So Mess was so patient. He's the one who was recording his album, doing some edits and stuff. So Cowating The Boy, it was so sad. 75:55 And then The Boy is under my label. Even that song, that song was not even released under my label. It was released under Mess's music label. 76:02 Because I was trying my best. 76:04 To make sure. Whatever, whatever. 76:08 It's fun. We must treat one another better. 76:10 Where are we with Sir Trill? 76:12 Are we fine with Sir Trill? I think it's gonna perform on stage. 76:15 Yeah, I think it's gonna... No, we're fine. 76:18 We've always been fine, man. I'm not the Khrut man. 76:20 You don't know the Khrut man? No, no. 76:26 I don't know, but it's the hot man. I'm not the hot man. 76:29 I'm not the hot man. But I'm not the hot man. But that's what they said. 76:33 Here, another beef. 76:34 I don't know about this beef. 76:35 No, no, no, we don't have beef. There's no beef there. Nah, he's just playing around. He was trolling, G. 76:48 Because it says, Maporisa has repeatedly and publicly demanded unpaid royalties from Maporisa for their tuning. No, no, no. 76:55 How was it working with him? How talented is he in studio? No, he is. He's a good writer. He's a writer. No, he's a writer. The bro is a writer, man. The bro is a writer. He doesn't play. 77:04 Linda the vocalist and Howard, are we good? 77:07 Yes, we're nice. 77:08 We're nice. Linda's performing. Linda's performing. My boy, my boy. 77:12 We're fixing things. 77:14 It's my boy. 77:16 I don't know, but my boy, I think it's not something that we need to look at it in a different way. I think it's got mental issues. I think it's got mental issues. 77:30 Can you see how it might be perceived in the public? 77:33 Shout out to you, man. Because he said some foul things about you. So for you to be so understanding, defaming thing, derogatory things, you know. 77:41 But so shout out to you for being the big. But also it happens, man. It happens. 77:47 But I'm saying, can you see from the public's point of view in terms of here's this kid, he's got a trending thing. And then you are big, my man. You pour it. And then it looks like you're just piggybacking. 78:00 On his wave. On his wave, yeah. 78:02 Can you see that? No, no, I understand it. I understand. But I don't know the back end, Hore. I paid $200,000 for the video. The song was not like that. We had to put Dabby, put some 808s. We had to put Scott. We had to put... You got the song to the world, man, also, you know? 78:24 And also, what you said with My Name is, you were behind the beat and then Zinke takes all the shine. And the boy also is... 78:31 The boy had an influence via, not as a personality via TikTok and stuff, right? But Igor was smart enough to put him as like, ah, because when I was trained, I was like, I don't want to live, I was like, fast, fast. Then because he's an influence, I know a trend, and I love him on the social media, obviously, and he added up. Wow. But now, it went to his head, all information about, you know, you know the street boys, you know what I'm saying? 79:04 I don't know. 79:05 Bro, do you guys know that fame is a worse drug than cocaine, bro? 79:09 Fame is bad. Not everyone can handle fame, man. Hey! Hey! Fame, no? 79:14 No, no. 79:15 Hey! What? Oscos. 16. 16. 16. 79:22 Hey, you know, and, and, and... Ay, man. 79:27 Ay, man. 79:57 They told you to remain humble, right? So when you see these kids, bro, after one song, one hit, and now... I feel sorry for them. Bro, it's insane, right? You start missing gigs. 80:09 You understand, Moisey? 80:11 Bro, how many people have you seen come and go since we started? And then sometimes it's not them. Sometimes it's like the management or who's handling your shit also. You know what I mean? Like... 80:22 And it's a business talk. 80:42 It's a business. So, hey, that thing, man. 80:45 By the way, dog, I got to apologize to Lok, bro. What did you say to you? No, no, no. I had some intel from Eva DXB, right? He was telling us because we had a gig that we were meant to do in Australia. Oh, Eva, Eva, Dubai. Yeah, Eva, Dubai. Yeah, Lok didn't take that well. We were meant to do a gig in Australia and she was feeding us information like, no, Toli Lok is blocking the event from happening. She wants people from Money Gang, New Money Gang in there, whatever. So Eva DXB was telling all of this and then I went on the show, I'm like, ah, fuck. You didn't tell me what's Eva wrong! 81:17 Yes! You didn't tell me this! She's a scammer, dog! She's a scammer! She's a scammer, bro! 81:23 That's why I'm apologizing! I apologize, bro! You understand what I'm saying? 81:29 Tuli, why we draw? I'm fine. I'm fine of why we draw. Fender boy, why we draw? 81:32 Yo, Tuli, sorry, Tuli. So I only realized later, I don't have my name. This one is a scam. 81:39 Oh, just behaviors generally. Yes, yes. 81:42 Because she's promised us so many things. She's never fulfilled. Not a single thing, bro. Not a single thing. You know, so please tell Tuli. 81:49 Sorry, Tuli. 81:50 How do you get Tuli down? Because she's cooking, bro. Tuli was working for Elien. You know Elien used to work for Riki and... Elien Didoy. Do you not know her? No, no. 82:00 Elien Didoy. Yeah, man. 82:03 This is Locke. 82:04 So Locke is her company or it's you guys? Yeah, it's her company. 82:06 It's her company. So what I did with Gabza's company and Locke's company was like, actually, you know what? So I knew what I was like, actually, you know what? I'm not good in discipline with money, right? 82:17 Yes, yes. 82:18 So I said, Julie, open a company, the money is going to go through you. And also I was building portfolios for the piano so that, you know, we can add a much better. A business also can be, you know, a very profiling shop where she can, you know. 82:31 Yeah. 82:33 Make it big and stuff. So I said, Joe, it's not going to be a Monday. Every Monday, I have a belief. I understand. So that's how, and she was working before, she was working for Ellen. So with Ellen, I had a problem with promoters because she's white. And the language barrier just wasn't going to send email and then the promoter maybe doesn't. So I understand those type of things. 82:59 So let's call, you know, you know, send that email over the last call and stuff. So I saw that it's like, it was kind of like, yeah, it was fucking up my business and stuff. So, because Tuli was there and we had a relationship, we're from Pretoria, all of us and stuff. I was like, ah, boy. 83:18 Bula Kampani you know where now it's a Gabza everyone gave Gabza I said Gabza it's alright eat you know what I mean yeah and yeah that's how I started working and she's doing she's doing the most man she's doing the most 83:32 Bro, let's go back to that foul night when that DJ got shot. What's his name? 83:38 King D-Toy. King D-Toy. 83:41 What happened that night, dog? 83:42 Well, I talk about guns now. 83:43 Let's talk about it, man. No, man. We have to clear the air, my dog. You're scared already. If you don't, whatever happened won't... You're bringing trauma to me. 83:56 I went to therapy, dog. Let's leave that thing. 84:00 But what happened, though? From your point of view. 84:03 Was it a miscommunication? Because I heard what happened, but I want to hear it from the horse's mouth. 84:08 No, I don't want to talk about that one. That one's sensitive. It's sensitive, isn't it? It's very sensitive. I want to leave it. Because you're going to give it volume. When you talk about it, it's going to be... 84:16 But were you scared for your life that night, bro? 84:19 Come on. 84:22 That's how. Of course he was, bro. It's bullets, dog. 84:27 Is that what got you to therapy, bro? Therapy is everything. Therapy is everything. Everyone is here. All black people who come from the hood tell them that we need that shit. We fucked, bro. 84:37 Nah. The hood is traumatic by design. You see with us when you have man. 84:42 We're like, okay. Oh, now they're in childhood trauma. So yeah, therapy is very important. We need therapy guys. I think I took it serious after the live. After the live. After the live. After the live. After the live. 84:55 After the live. After the live. After the live. After the live. 84:59 After the live. After the live. After the live. 85:03 After the live. After the live. You know. Why not she's boy? You know? 85:14 Driving mom's car. 85:15 Grandfather's car. What do you mean mom's car? Grandfather's car. That was trauma for me. 85:21 That was trauma. 85:33 That was too big for him. His trauma was too big. His trauma was just too big, you know. Didn't grow up with anyone close by. No big brother said, hey, it's my car. Bro, so what has trauma, I mean, therapy done? Like you said, that you had 11 kushushes, God knows why. What are some things that you no longer do now? Because maybe therapy. 85:56 I'm trying to not do. Or even what you're working on. Because I'm 30, I was like, what? It's 37 when I was doing this thing. Yeah, shit. I'm dealing with this thing and I'm 37. 86:05 So also adapting to the new, you understand, and change, being aware also, talking about it and being, trying to forgive yourself also, you know what I'm saying? Because you have to forgive your parents also. Of course, yeah. I understand. Yeah, so, hey man. 86:21 Bro, it's so crazy. I was talking to my cousin about that, right? Because I was like, yo, man. 86:27 Pory has so much mind. We were talking about the live. You know, when the live was trending. I think that's when I started calling you and saying, dog, you know, you got to come on the pod. Because I was watching you crash out. I was like, no, man. This is not great. This is not good, man. You've done so much for the game. You're a fucking icon. You're a legend. And you can't go out like this. You know what I mean? I'm like, not in my lifetime, dog. Not on your watch. Not on my watch. You understand what I'm saying? So I was talking to my cousin. I'm like, yo, dude, that life was crazy. And he explained something, which he gave me a different POV that I didn't, was not thinking of. He's like, bro, you got to understand where Pory comes from. 86:58 You know, Pory comes, and correct me if I'm wrong. He's like, Pory comes from a poor background. You understand what I'm saying? And, you know, when he starts... Poor, poor, poor. No, not poor. My mom must be mad. No, no, but you know what I mean. But like, when you start making money and you come from that environment, like, it's a lot, bro. Like just that on itself, like making that amount of money, you know, it can fuck up your mental health, you know, because you don't want to go back to what it was. 87:29 And you're always worried about, so it's always about getting the next check, the next check, so you make sure that you never go back to what it was like. You know, was that correct in him saying that? 87:43 Yeah, part of it is right. I don't know what to say. So I have to be in a safe mood. 87:58 Safety, you know, it's transparency and building trust. 88:03 So you can clearly see me and Kabeza were fine. 88:05 Yes, of course, of course. Doing Scorpion Kings. You know what I'm saying? He's doing his own thing. I'm doing my own thing. We're transparent. You know? You understand? So I started building those type of things. You know, like my boys, I tell them, I was like, Joe, I sign you, but I go sign you only. Go sign you only. Especially producers. Because producers, at some point, they want to grow. I want to grow. You know, they share with them. I want to grow. So I have room for that for everyone. You know what I'm saying? Like now, I just cleared Miss Music. You know, he's going to rock his label, whatever, whatever. 88:37 It's time. You know what I'm saying? He played his movie. You know what I'm saying? So I have room for that. You know what I'm saying? And building trust and having a lot of people around me. You know what I'm saying? Because also my take is like, okay, Sony is a major label, but what is Zaka, right? 88:52 Yeah. How do I... 88:56 You know, make more out of it and stuff, I understand. 88:58 So I have a crew, you know what I'm saying? It's like Capsa, it's my mom. 89:02 Let's go sign here. When we sign here, we can ask a big budget. You know what I'm saying? And it makes sense. 89:07 Yeah, it's like, this dream is like, the other day I was drunk with Capsa. But it's all over. I got a phone like Sean. Hey, Mr. Sean. 89:18 Hey, we want a hundred million. The next deal. I understand. 89:24 let me see what can I do whatever so they came with deals it's like okay maybe we can give you this but if you give you a hundred you have to do distribution I said I don't want no I say we have to do what again JV I said I don't want JV I want distribution and I want a hundred million I want but at least it went to 42 to understand so which means it's like okay now With the same energy and add up and whatever, whatever, we can really go to 100. Yes. The next thing, we can go and whatever, whatever. So that's my mindset where I develop artists, labels and whatever, and then I mentor them and then we go, one. 90:01 Because most music, I'll tell my lads, you, out of most music, I should move a five. 90:07 Yeah. 90:08 I understand. Tyler, Tyler move a ten. 90:12 So that's what I take. What's the amount for you that way, if you get to someone, you're like, ah, great. 90:17 grand nah I won't stop you won't stop I'm gonna go out with Elon Musk 90:26 Don't stop, bro. You've got to have to try to go. After here, it's match now. 90:33 Match is doing the most now, like fashion and clothing and all that thing. Our own festivals and stuff. Because as you see now, with Sony, we partnered. Even the FNB, even the Lofters, we partnered. So I'm building a nice portfolio with them where They can give me a billion at some point. 90:51 Yeah, of course. And you deserve it. You deserve it. 90:55 And you're building the empire for it. Yeah. You're building them, I can see. But still, we're still moving the same thing. And then also I'm watching them. Because when they fuck up, it's like, hey boy, come on. Don't do that. Come correct. 91:11 I've always wanted to ask you, does your baby mama not regret leaving you? 91:18 Ah, she still got him, because he still got her through the kids. 91:22 She'll always have you. She's through, you don't feel the front seat. Because clearly she didn't see this. You know what I'm saying? And she left. But now we are here. 91:32 How sure she left me? 91:34 Oh, you left her? I'm a cabot, I fell. Oh, we don't know. We don't know. 91:37 We don't know. That's violent, actually. 91:41 Alleged. 91:42 Oh, alleged. 91:47 Nah, I was young, man. Yo, I was 19 when I was having a baby, bro. I was so young. 91:52 Whoa, bro. 19. 91:52 Yeah, yeah. You were a kid. 91:54 Oh, me now. Look, I had a kid when I was 31, bro. Not this, but two. Oh, me second year varsity, no? 20. Oh, you're catching up now. 20. 92:08 No, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, 92:37 I don't like the internet, but she's gay. She's gay. She's gay. 92:42 Bro, I noticed on the internet you protect your family a lot, dog. Like you never post them or anything like that, right? I'm not sure they're ready to be... 92:49 I'm not sure my daughter wants to be famous and stuff. We can use kids to be famous. We can use anything. He's a cute dad. Whatever, whatever. 92:59 Stay away from that. 93:02 It's a dangerous game, bro. We don't play it. Don't play it. 93:04 Bro, and then where are we with two? Are you guys dating? What's happening, my man? Because one day she's opening a case against you, and the next day you guys are back together. We're like, hey, man. 93:21 But I can tell, you know, obviously everyone sees the videos when you guys are together. I can tell you love the dolly, man. Hey, if you see it in his eyes, dog, the way he looks at her, you go like... 93:30 But it's good. 93:31 It's good to be in love, dog. 93:32 It's a nice feeling. It's a nice feeling. Until... But yeah, it's a nice feeling. How was that experience, the case for you? How was that experience? 93:41 I don't know if I need to talk about that one. No, but it was public knowledge. 93:45 It wasn't good, man. Yeah, it was public knowledge. You don't belong in court on a witness stand on a box. I was shocked when I saw that. Yeah, I was like, nah, man. 93:55 I thought you were gone. 93:58 I thought, nah, I know, this guy's gone, bro. 94:02 So, regarding that case, why did she drop it? Like, what happened? 94:07 I'm not supposed to go to... 94:09 Can you clear the rumours? Is it true you dated Sian Buji? Is that true? No. You never dated him? 94:13 Nah, bruh. 94:13 I can imagine the baddies that have been to the Leonardo. 94:39 Get the fuck out of here, bro. Come on. 94:41 What's it like the rocking in Leado with that view? 94:44 Top floor. When you're rocking there, my man. When you come, it's like you're coming on the world, my man. You look still in Cloud 9. You don't see we're working there. 94:53 We only see one part of the whole penthouse. That's the workstation. 95:00 That's the workstation. There's other stations where people get this work. 95:04 That one is the workstation. Can you imagine coming at Leonardo, dog? It's like you're coming to the world, dog. Have you seen that view, my dog? Yeah, bro. 95:10 Like, it's crazy. Crazy business, dog. 95:12 Yeah. 95:12 Dog, I can't move out there, dog. Why have you been trying to move out? 95:16 Why? Why? 95:19 I don't know. I was like, yo, of course I'm here. 95:21 I'm looking at you. 95:23 It's a different complex, yeah? It's a different complex, man. It's a totally different complex. It's not even a complex, man. What do you call it? It's it. 95:34 Yeah, but it's the working space, like the view, working and stuff. And I see how people get inspired just to be in that room. Yeah. It's an aspirational dog. 95:44 Is that what you were thinking? Because a lot of people obviously don't have, this is South Africa, in the context of South Africans, they don't have that kind of disposable income. And now when they go to Property24 and they're like, it's 90,000 per month. They don't get like, you know, maybe the vision you may have had when you decided to move in there. What was your thinking? 96:04 I needed a safe space as quick as possible because of after that incident and stuff. 96:08 Oh, yeah. Yeah, yeah, yeah. 96:19 Oh, that thing prompted safety, accessibility. 96:28 How much is your girlfriend allowance? I can sing it. But I don't like the girlfriend allowance and stuff. 96:36 Bro, how do you handle roadkill? Because obviously you got caught with that girl who took a video. Remember that video that was trending? 96:44 Which one? A picture. I don't know a picture. No, a video. 96:47 It's a picture. Oh, is it a picture? 96:48 Of who? Of you? No. No, it was a picture. 96:55 It was a picture. 96:58 How do you handle it? Because we've never seen a picture of that. 97:01 I think maybe kids can implant or what. But I don't know. Or maybe it's a taste. Maybe it's a taste also. 97:07 Nah, it's a taste, bro. 97:09 It's like you can seem in problem people who are going to 97:13 I think also because with us OGs, right, because we've been in the game for so long, now we're so focused, we can see problems before they arrive. 97:23 You can see, ah, this one's a problem. 97:29 Yeah, you're gonna be trending tomorrow. 97:32 So bro, you're not planning on getting married? 97:34 I want to, I wish. I want like six kids. I want a farm. I want kettle. I want... 97:41 Gulube, Kijima, Kijima. Plantama, peppers, cabbage. 97:47 Finding someone genuine at your level of success. Everybody knows who you are. Everybody knows what you got. And you don't know if they're here for you or what you got. 97:55 I find it's a tough one. Because in high school, fairly... 97:58 Oh, I'm big, you know. 97:59 Yeah, but yo, yo, yo, yo, yo, yo, yo, Navy. I don't know if you saw your colour, but I'm colour blind. Yo, Navy. Yo, yo, yo, yo, yo. 98:11 I'd rather be marooned than date Navy. We're going to talk about F&B shortly, man. I just want to play a quick game with you. Last time you cried, what was it? Yo. 98:20 Last time I cried. I'm not soft, you know. 98:25 Yeah, like, last time when? I was DJing. 98:29 Why would you cry DJing, man? Why would you cry DJing? 98:39 Last person that gave you advice. 99:02 Last person who gave me advice. 99:05 Last person, was it Kofla? 99:08 Kofla. 99:10 Yeah, I think it was Kofla. What advice did he give you? 99:14 Ah, he always spoke about a lot of things. Growth, you know what I'm saying? 99:17 It's like... Did you realize people don't understand how big Kofi is? 99:24 Ah, it's fine. That'll be okay. Yo, in South Africa, people look down. Are you serious? Stop, bro. 99:30 When you let him beat the airport, it's just coffee, my nigga. 99:33 Yeah, coffee's... Is that the best DJ in the world or the most recognized DJ in the world bro? 99:39 Hey dude, he's unlocking. Crotman is unlocking. Top DJ in the world bro. He's unlocking. 99:44 Crotman is unlocking. 99:46 He's doing something great. So you spoke about a lot but you can't... 99:50 I don't remember. I spoke about a lot of things man. Spoke about a lot of things. 99:56 The last celebrity death that broke your heart. 99:59 Any celebrity death that broke your heart? Yeah, a lot. All of them, dog. 100:03 AKA Mbura. 100:04 Mbura. 100:05 Kilakao. Somebody. All of them, dog. Just like, it's not nice, dog. It's not a nice feeling. Yeah. 100:14 Where were you when you heard about Mbura? 100:17 I don't know. I remember somebody. I was in Angola. And I was just finished playing. And I saw it was going crazy. 100:25 I was like, yo. I was messed up. 100:27 Would you either stop smoking weed or stop making music for a year? So you can either stop smoking weed for a year? Smoking. 100:34 Smoking. Yeah, yeah. Smoking can wait. 100:40 That song, Departure Tafedo, does it really have good weed or just a song? I'm just curious. 100:45 They were high. My strength was high. 100:47 Oh, they were high. They were high. I thought I was curious, man, if it's a real plaque. 100:52 No, no, no. He came with the patches, they smoked, they got high. It's like... Oh, okay. 100:58 Oh, they cooked them proper high. What is your favorite porn category? What? Porn category. 101:08 When you go on porn, which category do you like? Sol. 101:12 Sol. 101:15 Do you like DJs at work? Marriage for life or baddies for life? 101:44 I got out the game quick. When? When did I meet the lady? Oh, it's been a while. 101:50 It's been a while. Yeah. But in the industry, you need a woman that's gonna make you accountable. 101:55 But it's tough to get. I don't know how many... 102:10 Hey, but like, shout out to you. No, shout out to you. You must give us the tea. 102:16 Ah, the street is cold. 102:17 Too much, dog. 102:18 Yeah, it's too cold. And for you, dog, it's worse, bro. Because you're known everywhere in the world. You understand? It's like, it's such a South Africa, you know what I mean? 102:25 Nah, it's cold, yo. 102:25 Because when you learn in the UK, there's baddies waiting for you. You know what I'm saying? You know, they know your hotel number, you let them be in, you know? 102:40 Money or fame? 102:43 Money. Money, money, money, money, money. 102:45 Bro, how much are we worth, bro? 102:47 Because currently on the internet it says you're worth... Ah, they don't know those things. 40, 80 million. 40, 80 million. 102:53 40, 80 million. 40, 80 million. 102:54 How much are you worth? 102:56 I don't know. You don't even check, right? 102:59 How? You check the assets or you check the account? Both. Both. 103:04 Assets. And you check the liquidity as well, but assets plus the liquidity. 103:09 I don't know. When was the first time you realized, okay, now I'm rich, rich? What happened? 103:15 I'm fine. It's levels. Because even that 22 and 30, I didn't shake nothing. You? I didn't shake. It's the account. 103:22 I didn't shake. I swear, didn't she? Because it needs discipline. It's like, 11 is mine, 11 is other people. Now I'm going to eat that money, buy Ferraris and whatever, whatever. Now I have to pay. Now I'm not productive and whatever. So I need it. Even now, the next day, 70. Even more, dog. But still, discipline again. Because you have to go to 100. 103:45 When you go to 100, it's the same thing. 103:48 But I think you deserve way more than that. When I look at what's happening with Drake and Universal, I mean, Universal gave him five hundred million dollars. 103:55 You deserve more than that, bro. 103:57 Like in terms of friends. 103:59 But you say Drake is the global… You know, they claim Azra Pachan. 104:05 Comparing dollars and rents dog. 104:08 What's your fascination with bags dog? You're the first nigga that I saw have like a Birkin bag. Birkin bag. 104:13 Oh yeah, and Hemis. What are they called? How do you pronounce that thing? 104:19 No, no, it's a silent H. MS. I don't know. I think someone said it's a silent MS. Oh yeah, yeah. What's your fascination with those things, my man? 104:29 Now we know bags. Ahhhh. 104:33 How does the communication with the bellies? I'm not connecting with the bellies. 104:39 If you know you know. If you know you know. 104:42 They plug you in. Do you feel like you can... Yeah? No, the internet has been clean inside of those times. You know, it's like, ah, bad man's your thing toned out. But the internet sometimes can really drive you crazy because you want to do some wild stuff and stuff. 104:58 To prove a point, you know what I mean? And then how many bags do you have now? 105:01 Bags? Yeah. 105:01 What? Like Beggs? 105:04 Not a lot, no. I'm over that phase here. 105:09 The apparel and stuff and whatever. And a lot of them are in Bahama. 105:39 No, for real. A lot of the kids are wearing fakes, man. 105:42 There's a new name now, Barakipaloni. Barwaper Paloni. 105:45 Yeah, Barakipaloni, man. 105:48 Barakipaloni, because of... Barakipaloni, you know? 105:52 Barakipaloni of Nipaloni, you know what's wrong? Like, the way he went and got in, he's like, ah, what's wrong? Ah, what's wrong? I wish, actually, he didn't get to know when I got to tell him. He didn't get to know. 106:05 So you're over that face, dog? You're over that face. Look at Homborin, Homborin. Yeah, yeah, yeah. But the watch, that watch looks expensive, yeah. No, this one is... 106:26 Oh, okay. That's like half a million, right? Like, the guy's got a million already on him. 106:31 What would you do? Ah, man. You don't know how to do it, man. I don't know how to do it. Hey, man. 106:38 Pori, Oskito's very big on diversifying. You know, like, he's into music, but he's got Daruma and stuff like that. I remember there was a time when I went to a club behind XO. 106:50 I think you guys, you owned it. And when I went there, it was empty. 106:57 Do you know that club? Yeah. 106:59 That was your club though? Yeah, me and Chris, we were trying something there and stuff. But it was cold because it's next to the river there. No, no, no. There's a river there and stuff. So... 107:11 when it gets at night, it becomes cold. So it was not making sense. So that play, or something. Yeah, but I'm over outlets, dog. Too much, dog. 107:23 People don't understand. I'm not, I'm not. When you come, then you see the place. 107:27 Maybe a small restaurant, whatever, those type of things. Maybe the book. It will grow as a franchise or whatever, but it loves dealing with birdies and hostess and what-what. But now I tell you the artist. 107:42 So are you diversifying? Because I know you've got a rolling joint thing that you're doing. I don't know why didn't I come with those things. 107:48 I was supposed to be there. We'll put it up in those productions. 107:54 I must give you like t-shirts and stuff. You don't smoke. 107:58 Yeah, man. I wrote my post on a tag and said shout out on this. Yeah, bro. I smoke. I smoke weed. Everybody knows I smoke weed. 108:07 Ah, pretty ones, bro. Come on, bro. Yeah, man. I smoke, bro. I know I don't look like you. I don't speak like you. Why don't you be a rapper? I used to be a rapper high school. 108:20 I can yell. I used to be a rapper high school. 108:23 I used to be a rapper high school. Before I became a producer, nigga rapper. Before making beats. High school, I used to be a rebel, man. 108:31 Is that your company or you partnered up with something, the joint company? Yeah, I partnered with something. So tell us about the company. That's a dope idea, bro. 108:38 Yeah, it's me and Harold. It's me and Harold. 108:40 Oh, Harold! Saco! No, Rasulaman. He's a guy who owns Medleaf. Medleaf, yeah. Oh, Gandhi Harold. That's my name, man. Yeah, Harry. I get my stuff from Harold, man. Shut up. Rasulaman, Harold. Yeah, wow, bro. 108:55 Yeah, so, yeah. It's that. And then... Cooking. I like cooking. So... You know, streaming now. You know what I'm saying? So... Yeah, a little pioneer. 109:06 Have you finished building the house there at Waterfall? Because I remember you... There's no Waterfall. It's... It's fucking... 109:11 Next two Cubs are the Blue Veilies. 109:13 Oh, okay. Have you finished that? 109:14 Because I saw the video when you were showing your skier. Yeah, I'm still there. I've seen the voice, I've seen the voice. 109:20 So, Rolako Michelangelo, I thought it was just a studio. 109:28 Yeah, but it's a workplace. I made it as a workplace. It's a workplace. 109:31 Yes. 109:32 It's a workplace. Yeah, it's a workplace. 109:34 Oh, so you've got a different place where you're staying. 109:37 I still have that house, Co-Miltrent. Remember when and stuff. Yes, yes, yes. Yeah, I'm looking. I'm looking for another one. 109:46 Shit, dog. What do you think about music, Paul, dog? 109:49 He's not going to talk to me. He's not going to talk to me. 110:18 Good. I will feel sorry for him to wear it legally in Kurokayeturu, Aumupa, Telepina. 110:28 You know what's funny? 110:30 When you guys didn't good, Howard was still staying in Midrand. So I called him like, Howard, where you at? He's like, no, I'm at the house and I came through. And you had just left the day you didn't good. You had just left. And he played it for me, Howard. Oh, shit. Yeah, dog. You know the apartment there by Midrand? Yeah, the two bedrooms. Yeah, you had just left, dog. I was like, wow. 110:50 I was very smart, but... 110:54 What do you know to take that house song and turn it into hip-hop bro? It's my favorite song. Yeah, that's a classic! 110:59 Ding, ding, ding, ding, ding, ding, ding, ding, ding, ding, ding, ding, ding, ding, ding, ding, ding, ding, ding, ding, ding, ding, ding, ding, ding, ding, ding, ding, ding, ding, ding, ding, ding, ding, ding, ding, ding, ding, ding, ding, ding, ding, ding, ding, ding, ding, ding, ding, ding, ding, ding, ding, ding, ding, ding, ding, ding, ding, ding, ding, ding, ding, ding, ding, ding, ding, ding, ding, ding, ding, ding, ding, ding, ding, ding, ding, ding, ding, ding, ding, ding, ding, ding, ding, ding, ding, ding, ding, ding, ding, ding, ding, ding, ding, ding, ding, ding And now I get it because now he lost his whole thing that he was moving and he was making money and stuff. 111:34 So I understand the crash out and stuff. But I wish information and kind of like I said information right. Because he likes a lot. He said I sent the master's sucker to Sony. And the master's sucker, we own the master's. You know what I'm saying? So it's been... Something sharp is right, you know what I'm saying? Yeah, yeah, yeah. But sometimes it's like, ah, man, you're lying. And then now I can't even... I can't even say any shit. 112:03 I have to just let it slide. 112:05 You know what Noto's like, dog? You know what Noto's like? So let's say we are here in this room, ne? So let's say, Saul, you're wearing your glasses and then Nota's there, right? And then we are here, right? And then you drop your glasses, right? And then we see Nota picking up the glasses to give them to you. So him picking up the glasses, it's true. He picked them up and he gave it to Saul. But when he goes on the internet, he's like, Saul wouldn't be able to see if it wasn't for me. 112:33 Spectacular life. 112:36 I gave him glasses so he can see. You know what I'm saying? 112:40 Yeah, yeah, yeah. He'd be blind without me. 112:41 Yeah, he'd be blind without me. And then where now you have to be like, and he's going to be like, ask Pori. Pori saw me give, saw the glasses. And then you're going to be like, yeah, I saw... 112:52 He embellishes a lot of things. 112:59 He exaggerates stuff. 113:04 Top five producers you've ever worked with that you fuck with, man. Top five. Yes, you love XTAP. XTAP is dope, my nigga. 113:11 Oh, that guy's too much. He's a rapper, he's a singer. He's a singer? Yeah, also, he's from hip-hop. Do you know the piano kids... Bakache, Kubaba, the young ones. They were doing hip-hop. Both of them. Even Youngstana. Even Youngstana. Even Doss. Melon Sleazy. Melon Sleazy was hip-hop? Yeah. Even their name was Melon Sleazy. It's on hip-hop. 113:32 Yeah, yeah, yeah. Melon Sleazy. I feel like Melon Sleazy is underrated, dog. 113:36 But now they have number one song now, remember? 113:40 They always come around and have number ones. 113:42 They'll come back. 113:44 But their catalog is insane. 113:46 And I found them on Twitter with the audio. On Twitter I was scrolling and I'm hearing their sonics. I said, no ways. 113:56 Like, I've never heard a piano like that. I said, Kabza, listen to these boys. And luckily, I told Tyler, I see you. Tyler, I see you. He looked at it and then he got there and started working. 114:07 He's been quiet, Tyler, man. Is he coming back? Oh, he's doing international stuff. Oh, okay. 114:11 He's still writing them niggas and stuff, yeah. I play them niggas a big fan. 114:15 Ah, that's a classic. Top five. Top five. That you've worked with. In piano, please. 114:21 Just piano. Kabza number one. Oh, in piano. 114:24 Yeah, except Kabza, man. Obviously, Kabza's there. 114:29 Yeah, that's what I'm saying. Because my mom is all over there. It's called my mom. It's called my mom. 114:33 Yeah, my mom. 114:34 It's called my mom. 114:41 And I didn't know him at that time. I was just reposting, just reposting. 115:05 Do you like that song? 115:08 You could never fall me. I know. No, that's normal. English. Why do you love English like this? Oh, man, I even said tenderlo... Oh, that's it. 115:23 No, Korobela, Korobela. You love Korobela there. They never released it with Amos. No, they released it. Oh, they released it all. Yeah, he loves Korobela at least. 115:32 Two. I also like... Parwana, you like the mild ones. 115:39 Yes, yes, yes. You just want to be on your corner there. 115:41 Yeah, yeah, yeah. That's why when you play, when you play, I like it because you start there. Yeah. 115:46 Well, now you build, you build. Oh, DJ, we start there. Play for the girls. Yes. Don't even think about it. 115:53 F&B this weekend, my dog. That's how I'm going. 115:55 What's happening? Hey, they're calling me now. Yeah, you've got rehearsals, I know, I know. Yeah, yeah, yeah. Tell us what's happening, though. What's going on? Yo, man, it's going to be amazing, man. And then it's like... Scorpion Kings is like, it's our thing, right? But the bigger picture, we're all there, almost all of us are there. Everyone is excited to have a show. Wang Vastan is like, it's a family gathering for me, you understand? And that's what I like about it. It's like, we're going to be there together. Everyone is going to represent. Everyone is going to call out. It's not really my Cubs and my police. You know what I'm saying? Everyone is excited. 116:26 For the culture. For the culture. He's for the culture. And that's what I love about the... Did Kubsa tell you it was my idea? 116:32 What? 116:35 Oh, because we used your clip there. 116:39 No, no, no. 116:39 Do you know what happened? Do you know what happened? So I'm in Venda. It was December. So I'm in Venda. They're by Nandone. And then I'm chilling with some friends. And then this guy's like, yo, no, you know Kabza's playing across the street. Oh, shit, Kabza's playing. Fuck. And I go there. And then I met, you know his manager. What's the guy's name? He used to manage Mahuta and Fedkook. 117:01 Sina. Sina, Sina, Sina, Sina, yeah. So I meet Sina and then when Gabzo was finished playing, we were talking backstage, right? So I'm like... Which year was that? I think maybe last year or the year before. I'm not quite sure, right? So now, we're at backstage. I'm like, dude... Do you know... You guys... Because I'm a fan of you guys. You know... I'm a fan of you. I'm like... Dude... Do you know you guys are great right now? But... All the greatest... The GOATS... The one thing they have in common... Is they filled up a stadium. 117:32 And I'm like... Dude... the next trajectory, the next step should be to fill up a stadium because you've got the catalogue, your music amazing, you are running shit, you're running the streets right now. And then Gabs was like, nah, man, I don't think we can do it. Blah, blah, blah. I'm like, dude, trust me. 117:48 But at that time, it was him alone. Yes, I was talking to him. Yeah. Yeah, I was talking to him. 117:54 No Scorpion Kings. I was like, dude, your catalog is insane. I'm like, you can bring Pori and then this is how the night looks. And then you do this, you take us from the beginning and then whatever. And then where we are now. Like which year? It was, it was, let me finish. Then after that conversation, two weeks later, you guys announced Loftas. 118:17 That's fine, I'll give you the credit, but don't forget that we started with Santa Reina. You remember? 118:23 Our first show. 118:26 2019 when lockdown, we had to even... Oh, I remember you wanted the Whistle Girl as well to perform. Oh, okay. So that's why it started, Scorpion Kings, but I'll give you for now. It hurts. 118:43 No, but it's fine. So, so, so, is it the same? Because I'll be honest with you. You know, last year I was very disappointed at Loftus. Yeah. Because it felt like a festival. When have you wanted us to DJ? No, not DJ, dog. Wow. So the concept, this is what I told Gabza, bro. I was like, you guys have been involved in so many areas of piano. So, for example, you know piano, bro? They turn out a thousand songs a day. And we never actually get to celebrate and feel the song for what it was at that time, you know? So I was like, it would be so amazing if you guys start from Something Soweto, Amantuan Bazane, Shasha, Tender Love, the performance stage, and take us through the journey. 119:19 Because your catalogue is insane. To end up, and the last song is Amantuan Awako. You understand what I'm saying? But you're taking us through the journey so we can appreciate and give you flowers, you know? So we didn't do that. No. At Loftus, it felt like a festival. Because I don't know why. Festival? It was not a show. No, because Davido was there for 40 minutes. I'm not there for Davido, dog. To be honest. 119:41 Davido was performing like he would at a festival. Oh, I see. 119:43 So you guys let the people you worked with do the songs that you worked with, even like your Mafia Zola, and then they did their own stuff. Yes. 119:51 It's not a Scorpion King. He's got a qualm with that. It's like another delicious fest. You understand what I'm saying? 119:56 But that's... 119:58 But they're there for you. 119:59 No, but they're there for us. But there's some songs that they're so... Like... 120:24 Like last year, they didn't want to put Mahou's song. 120:30 I fought with them. I fought with them. Oh, she did? Yes, yes, yes. 120:34 Like this song is the biggest song and you don't want her to perform this song. Are you crazy? Yes, yes, yes. You get me? So those moments, I understand. That's not our song. But like this Mahou, let her sing. 120:43 Oh, I guess you're thinking, yo, how are you going to have my fingers all over there and then them not performing other big songs outside of what they did with me? 120:51 Yeah, you understand? For example, Nia Pelu is going to perform. She has to perform with Sheila. Sheila is a big song. I get you, I get you. Because if you want the show too, I feel that you could spam some of them not. So now we're going to add up a new spice. I get you. I think for me as a fan, I was coming there for you. 121:11 Like, all respect to Davido. He's got hits and whatever. But if it was like, hey man, Davido's going to perform for 40 minutes. I was like, I'm not grand. Because I'm there for Scorpion Kings. 121:22 Yeah. And then also last year, because we were not, it was the first time. 45,000 people and whatever. So we needed to market with other people to bring in numbers and stuff. I understand. But now we didn't have to... Shut up, shut up, shut up. At least I'm getting my flowers. 121:58 I'm kidding. But yeah, but now we had to be confident. Just like, ah, we can do it. You know? 122:03 So, can I buy tickets? Because am I going to experience the full scoop in King's talk? I want the full scoop in King's talk. 122:09 They finished the tickets. I have to ask. Please ask. 122:13 I want to come with my wife, dog. I want to experience full from even... 122:18 You guys are coming. I'll let the ticket. I was going to watch it on TV, dawg. 122:22 No, man, I'll... Wait, man, don't we have tickets? Come on, man, we're on the promo, bro. Don't we have tickets? I'll be sorted. No, because I don't want to make last two calls to Malachi. No, no, no, you have tickets, guys. Come on. Yeah, we've got tickets. Come on, man. No one has called me, dawg. No, for real, no, I will sort it, bro. No, I will sort it, man. No, bro, we don't have tickets. 122:43 Now you're making us look like those last minute people who need tickets got in last minute. 122:47 Because he's sorting himself on his Wi-Fi only. 122:49 I'll sort myself out, it's all good. Oh, no, every man for himself. 123:04 But please, please explain the thought process behind what we're going to see this Saturday. Like, can you just tell us what's happening, man? And why this is special for you, bro? 123:13 I mean, especially because everyone is in one room, dog. And they're celebrating music, celebrating our culture, bro. You know, that thing means a lot to me. Look, I manage, me and my boy, I manage to say, you know what? Fuck the bullshit. We're going to make this thing and it's not our, it's not me and him. It's a gang thing. It's ours. You know what I mean? And inspiring the kids. It's like, it's doable. And shout out, I'll say this again. Shout out to Caspar for planting that seed. Yeah, you're okay. 123:40 so now I see I see MT my soul yeah if he wants to do it he can yeah he can he wants to it's a faith it's about faith though so my soul I think had booked MT and then was telling MT like motivating him and saying listen if you want to fill up F&B call me I'm a call away I'll make it happen for you what do you want to be remembered as man when it's all said and done Pory 124:05 You know, with a nice smile. And, you know... 124:16 Joe, as a king, say this. 124:20 Architect. How do you say it? Architect. Of the music of South Africa. 124:24 Yes, yes. I want people to remember. 124:26 How do you say it, boy? Architect. Architect. Say it again. Come on, Bori. Hey, man. How do you say it? Say it again. Say it again. Say it again. 124:38 The architect of memes. He even named Prince KB. The name is Takna. You know that, like people, whenever they tease him, what a sex champion. 124:53 Are you guys, what was the beef? Are you guys fine now? 124:56 You and him. 124:57 What was the thing between the two? I don't think that guy would be fine with anyone. That guy, I wish I knew. I wish. 125:08 That guy, I feel sorry for him. Yeah. 125:11 When did you meet him? You know, the way I tell you, I remember... And the night two, you've got apartments in the same, like, precinct. I remember when he was popping. Like coffee. Really? And to see him do this thing, we understand, and then, like, tell you, look like this, it's like... 125:34 There was no social media. There was no social media. Photoshoot and stuff. They came changed. Me seeing that as like, hey dog. 125:59 And I was like, for me, sad. And that guy had a nice run, dog, about the music. And then he left it. I was like, fuck this thing. But for me, it's like, I don't know. Like, I don't know. I don't know what's wrong with him, but it's sad for me. Remember Club Controller? That era? 126:17 I mean, he was like this. He had better days. Better days. It was crazy. I was with TNS the past two days. 126:23 We did some crazy songs. 126:25 TNS. Oh, TNS, yes. TNS, yeah, clap control. Clap control. Yeah, I was with them. 126:31 I saw a clip. I don't know where it was. 126:59 It may have been Loftus or Zaba or it was the Summers where Zaba performed Sir Trill's verses on a song. People were not happy with that, man. 127:09 How come you just didn't get Sir Trill? 127:14 I don't know about that. 127:15 But he's on the song. I remember the video, he's there. 127:20 But you guys are in an apartment. 127:26 Come on, that thing is not really a big thing. I don't know. 127:30 No, it makes it speak into the narrative. 127:32 He made it a big thing because he posted it about it. 127:35 Yes, he did. But he's like, I wasn't called. And it is a big stage. Why is Zaba here to catch smoke now? 127:46 But it's fine, it's fine. 127:47 There's a lady I want you to work with, man. I worked on a song with her. I can trust you with her. 127:53 What are you looking for? Is Shasha going to be there? 127:56 No, Shasha has a gig in Zambia or somewhere. Yeah, and she's got a gig and it was confirmed a long time ago. 128:03 If you can do me one favor, please work with this lady. She's so amazing and she doesn't get her flowers, you know. And she needs that style healer. Where's she from? 128:32 I don't know because T-Man did the song. 128:34 I just put my name on it. Shout out to Spiso, man. Spiso once signed it. He like discovered her if I could put it like that. Shout out to Spiso. Shout out to Spiso. 128:42 Man, you must go back to the music. This thing of talking too much, man. But he released that with Gunflake. Oh, he's still busy. 128:48 But he's on the Lecompo level. Yeah, he's on the Lecompo Master KG level. He's still cooking music. So you were saying, what do you want to be remembered as? You want to be remembered as the architect of music. 128:58 Yeah, of music and the... 129:01 you know, small problem solver, you know, like making things happen, you know what I'm saying? Because, I mean, I've been... 129:08 It's like, you know, like studying, reading books and stuff. And you realize that when you become the solution, that's where you make a lot of money and stuff. 129:14 Yes. Yes. Once you come up with the solution, you're the guy. 129:17 Yes. So I understand. So with me, with the music, it's like, okay, let me be the solution. Okay, I have problems. Okay, can I fix it? Can I, you know, whatever. So I'm that guy. You know what I'm saying? Because I've been watching the game. It's like everyone is for himself. Like, let me be, you know, let me try. Even if it's painful, even though it's painful, because like the betrayal is that something that is like, it deals with me. It deals with me fucked up. But I'm trying to be, you know, strong and just forgive. And it's the game, dog. You can't change it, dog. 129:48 That's how people are, bro. Because at some point, I wanted to give up. I was like, actually fucked in. No, it's fine. Because it's bigger than you. Yeah. So, yeah, man. 130:00 And the school legacy, you know, I say name, I want to take it to the next level, you know, you know what I'm saying? Yeah. And then the legacy must grow. I need to get married, like, you know, have kids, you know, five years, six years. Yeah. 130:13 Don't you get imposter syndrome because no one has ever had this much money in your family. You're the first, bro. Isn't it crazy? 130:20 It's fun. 130:21 But I try, I'm trying to, you know, so that, you know, my sister's helping me, my sister at least, you know. Yeah, he's nice, he's nice. 130:28 So, I've tried to put my family in the business and stuff. But you're the first ever, like, how long do you think you're the first, what's your name? Sikor. Sikor. Yeah. 130:39 You're the first, I mean, in Miami, you're the first. I'm telling you. Adita everywhere. Yeah, yeah, you're the first, it's crazy, dog. Yeah. 130:46 I just want to grow it, you know what I'm saying, and just, you know, continue. Yeah. 130:51 Listen, Puri, man, I want to give you this. So we give this to, it's a grandeur, a limited edition. It's a gin bottle, right? We give this to celebrate black excellence, right? And for me, I think you are the one guy, you know, who really deserves this. Because, for example, I told you that I'd never called you to come on the show because I was like, ah, when the time comes and you want to come, no problem. No, no, but until I saw the life. 131:14 Oh, ah, you've been, come on. 131:16 You've been. You've found the life, man. 131:17 No, no, no, no. 131:19 Discuss the show, and then you drop us, and then, you know, we'll be trying to make it happen. 131:25 No, no, but from the bottom of my heart, dog, yes, obviously, you know, I might have said some bad stuff about you before and whatever. Did you say sorry, though? 131:35 No, my thing is, I'm talking my truth. 131:48 Like, okay, let me ask you something. You've got a podcast, right? You've got a podcast. You talk about trading things. Now you hear that I have a company. Let's say it's podcast and chill. I have a company. And then you hear and it's in the news that I'm not paying people. 132:03 What are you going to say? How about it's your job? You understand what I'm saying? Are you going to go on the mic and say, no, I'm happy Mac G's not paying people. You're going to have to say, no, that's fucked up, bro. You must pay people. You understand what I'm saying? So for me, when I comment about you, it's my truth and what I think, but it doesn't take away from the fact that I love you. You understand what I'm saying? No, I respect you, my dog. What you've done for the game, I don't think there's anyone in South Africa right now who's contributed more for the music industry than you have. 132:32 And for you to come on, I really appreciate that. And we just wanted to give you flowers while you're still alive to say thank you, man, for your contribution. Black excellence. We support black excellence. 132:42 You're the guy. Thank you. You are, bro. 132:44 It's 18. 132:45 Yay. 132:46 So how do I drink this? Just open and drink. 132:48 It's gin, bro. You can mix gin and tonic. 132:51 So it's 18 years? No, that's marketing. 132:54 It was made in 2018. No, it's 18 botanicals. 132:56 Yeah, 18 it is. 133:18 Small batch gin distilled with 18 botanicals for superior finish. 133:24 18 years old. 133:27 No, no, I'm being honest, dog. From the bottom of my heart, dog, I want to say to you, dog, I really appreciate what you've contributed to the game. Like you've inspired so many, you've opened so many doors. And one thing you must make peace with is you're not going to get your flowers. that's unfortunate that's how the game is you'll get your flowers when you die you know what I mean and it's sad but it's the reality so please don't let anyone shake you on social media like dude you are the guy you think you are fucking amazing what you've done how many doors you've opened we didn't even scratch the surface in this interview bro so many other things that you've done we didn't even touch on you know but for me I want to say may God continue to bless you Keep doing what you're doing, bro. 134:05 And I wish you nothing but the best. And if you drop a whack song, I will say it's whack. But I still love you, my nigga. You know what I mean? 134:12 Nothing personal. 134:13 Nothing personal. Peluka, I don't know what you want to say, man. 134:16 Yeah, man. And like, to add on to what he said, with your position comes, you know, people throwing stones, attacking you. Be whatever it may be for their own personal reasons, conflicts with themselves. You know, so... You may feel underappreciated sometimes, but heavy is the head that wears the crown, you know, and you wear the crown, bro. And you must wear it proudly. 134:37 Doc, you have no idea how many lives you've changed. Have you seen what piano's doing for kids, bro? Every single week, someone's buying a house, bro. Being fun. 134:43 That's all you, bro. Yeah, man. 134:45 That's you opening the doors. 134:46 I'm so happy for that, too. 134:48 By the way, when War Penny, you know Penny, Money Penny, when they're doing events in the UK and whatever, do you think they're expropriating the culture? 134:56 No, they're helping us, dog. No? 134:58 Piano people look good there in Afro nation. We have 20,000 people there, we have a stage. We have our own stage and we can do our own thing there. And we're pushing. I mean, I mean, the ones who started the first gig here, Piano people, was me and Wafflesacker. Yeah. Go minister of house. Yes, yes, yes. And then they ran with it from there. And it's like, they were the first people, after lockdown, just after lockdown, they said, everything is open. You know what I'm saying? And they ran with it. Do you think we'll get to a place where we are hosting the gigs? 135:28 Promoters, promoters, promoters. And partnering also and stuff. But we can get there. But it's like, it's not, mostly it's like, have you booked in the UK before? 135:38 Yeah. 135:39 What was, the promoter, which country was he from? 135:44 Zimbabwean Zimbabwean Zimbabwean Zimbabwean Zimbabwean Zimbabwean Zimbabwean Zimbabwean Zimbabwean Zimbabwean Zimbabwean Zimbabwean Zimbabwean Zimbabwean Zimbabwean Zimbabwean Zimbabwean Zimbabwean Zimbabwean Zimbabwean Yeah, yeah, yeah. Most, even Uhuru times when we were booked, we were Zim promoters. Yeah, yeah, generally Zim promoters around the space outside. 136:08 So I want to steal a pandemic. Bro, as we continue to give you flowers, man, this guy, his name is Neo. He loves your shit, man. He's been listening to your shit. Like, every time you drop... Any question you want to ask or what do you want to say to me? 136:20 No, I don't think I have a question. Maybe just something to say. Yes, please. You know, you did say that you want to be remembered as an architect of music. And I think that's how the audience of South Africa is going to remember you as. Because, you know, as South Africans, South Africans love music. And, you know, if we have people like you who are always pushing the right buttons and, you know, evolving the music... I think the audience appreciate it most. And I think, come Saturday, people are gonna experience it live as well. So yeah. 136:50 How long did you practice that, Neil? Hey, Neil, man. 136:54 Hey, Neil, man. Can you give shots as well, man? Can you give... Okay, so Mohaw is our producer. Because Dudu's sick. So he's standing in for Dudu. So he does read the room as well. Let's start with Mohaw. Let's start with Mohaw. What do you want to say? Have you had Pory? Because he used to work at YFM. Have you had Pory at YFM, bro? 137:11 Yes, I had him on... It's a while ago. It's like DJ Sabi's show. I think when you released the... 137:18 I think it was like the Mike Dumani mixtape. 137:21 Oh, okay. Yes, yes. For Bentley and stuff. Yes, I actually love that tape. 137:26 What do you want to say to Puri, man? 137:27 Yeah, my nigga. Yeah, I think you're amazing. 137:30 One of the... You think, so you're not sure. 137:32 No. 137:34 I'm a percentual. Absolutely, I'm a percentual. And as what Meggie said about the fact that we haven't even scratched the surface of some of the successes and the music catalog that you have, you know, I do love that this was all centralized on our piano and so on, but I love the diversity of music that you've tapped in and also how you've actually stretched the South African ear through to Africa to even hip-hop. showing the opportunities to be able to even, like, contribute on that Drake project and so on. 138:10 And I think my question is... 138:14 What's next musically? Because as you said, you diversify and you're always changing and you always catch a wave, right? 138:22 But you're also a trendsetter. 138:24 So I'm wondering what's next for Mapodisa with regards to music. Can you maybe introduce us to a sound that we haven't even thought of or tapped in, which might be the next wave that inspires the next generation of musicians in the country? 138:39 Sound-wise now, I think, I don't know, I was still clicking it, you know, but now I'm playing with Mascandi. You know, I love the Mascandi community. Because the young ones are doing it now. That's why it's popping. Yeah, Mascandi's huge, bro. Yeah, so Mascandi, you know what I'm saying? I'll add my few two cents and just whatever and make it. 138:58 I actually saw a video you were playing at Zouk. He was playing Mascandi at Zouk. 139:02 This past weekend. It makes me happy. Mascandi makes me happy, dog. 139:07 And most of the kids happen. 139:09 Yeah, but the young ones who are doing it. Shout out to Loa. Loa was the first young artist to do Maskandi. 139:17 Guys, Maskandi's big in the club. Right now. I played it in Louie. I played it in Louie last track. That one where he goes... 139:28 Mascandi is doing well now. It's got college students, varsity students. It's moving. It's moving. So I feel like that's the song. 139:39 Yeah, Mascandi. I'm glad House is coming back, man. Because I hear events like Bread on Soul. What's it called? Bread on Soul. 139:45 What's his name? 139:47 Sir NSG, yeah? Yeah, yeah, yeah. He does bread for sauce. Yeah, yeah. 139:50 Yeah, houses, houses, man. Houses are, it's coming back. I'm loving it. I'm loving it. But Duck House, oh, they're doing those nice parties. Duck Horse, yeah, yeah. 139:58 Duck Horse, sorry, not house. Duck Horse. Duck House would be a dope name as well. But Duck Horse. 140:06 So is there a new sound? What's next for you? Sound-wise, it's like fusion. We're just gonna fuse. Because already Koum, you know, sometimes it's like, you know, they put Koum in Afro House, we say Koum in piano. Because Tyler was doing that. I feel like the sound is just gonna, you know, two styles. 140:29 You know, because like even the Gyozama. Gyozama with Kabza. It's a third step, but it's slow. Yes. I understand those type of things. So I feel like now, the wave now is just mixing styles together. When you meet Tyler, what do you guys talk about? When you meet Tyler. 140:43 Tyler, the US singer. Oh, Tyler. Yeah, not Tyler, I see you. Tyler Water. Tyler Water. Give me water. 140:50 Ah, she's a nice hand. She's a nice hand. She's a nice hand. We vibe, you know what I'm saying? We've been vibing. We've been having a couple of sessions. It's just that the songs are not released. But yeah, man, she's wonderful. 141:00 So there's a song with you and Tyler? Yeah. No, I've released a song also, Tata. 141:05 There's one she performed. What? 141:07 It's been working. I need to go to L.A. and do some couple of stuff with that also. 141:13 I love how she still represents SA, dog. No matter how big she gets, man. That's fire for me, bro. Too much. Why now? Too much, dog. 141:20 We're a depressed nation, dog. Yeah, people just want blood, bro. One little thing or they want blood? 141:27 Yeah, yeah, yeah. Because... They build up to break it down. 141:38 But it's not just SA, even in the UK, they do that. 141:41 They do that. Yeah, with the soccer players. So, for example, in the UK, it's racism. 141:48 So, in soccer, like Rashford, when he earns £350,000 a week, It's a big thing. 142:08 You understand what I'm saying? So if he plays a game and he doesn't score, and he goes out, let's say, to a restaurant, they're like, look at him, he's wearing a $500,000 watch, but he can't score. That's the conversation. You understand what I'm saying? So as Rashford, you can't go out because when you go out, it's like, yeah, you've got this Ferrari, you've got this Lamborghini, but you can't score. You've got to score. 142:31 Yeah. 142:33 You understand what I'm saying? 142:39 Because it's crazy, man. But you're almost uncancellable. I remember like with everything, even with the whole Tulipi saga and people are like, well, cancel. I'm like, guys, have you seen Bori at Groove and how you make people happy and people will pull through for you because you've won their hearts with the music. So the cancelling thing happens on the internet only sometimes bro. Not on the ground. 143:01 Nah bruh, not on the ground. So Shorts likes Deep House, he's a Kelvin Momoh guy. You know that Deep House that sounds the same? That piano that sounds the same? 143:11 Kelvin Momoh sounds the same? 143:15 Not Momo, bro. He's from that world, you know, the underground. He's a new Momo, buddy. 143:19 Momo, something the same. But Momo, 925. Yeah! He likes the deeper. 143:28 So when you speak about Cubs, when you are still first coming up, I remember, I think it was called Avenue Sessions. I remember I also used to listen to it like every time, almost every week you would drop something or every month, I can't remember, you would drop a new Avenue Session. So I relate to when you were saying like you would take long road trips and listen to his music. That's amazing. And then my question is just to go back to Avanto Navago. 143:59 Before it dropped, and funny enough, we're in the studio. I was playing it on my laptop. And it was the mix you are talking about when you were... Yeah, yeah. So the following week, it was off. Off YouTube. We couldn't find it anywhere. It just dropped. Like maybe a few hours, we listened to it. 144:19 So the labels, what they do... 144:22 When it's copyright, it's copyright. Oh, copyright strike. Yeah, strike. It was a strike thing. So now we have to tell them, hey, what, what? Oh, we need to credit now. You know, description there. Yeah, we need to credit there and say, no, this song is about what, what, what? I think that was the problem there. 144:42 Yeah, yeah, yeah.