The stakes couldn’t have been higher for AKA as he recorded his forth studio album, Mass Country. After a year and a half in obscurity following the passing of his fiancée, Anele Tembe who tragically fell to her death in April of 2021, the Supa Mega was in dire need of a career renaissance. “Tragedy happened… Gave me the idea to put noose on my neck,” he reveals on the early Mass Country fan favourite, Mbuzi (Freestyle).
On top of the psychological torture that must come with losing a fiancée, ahead of the release of the album’s lead single, Lemons (Lemonade), AKA also seemed to be battling with the first major creative block of his career. His previous project, Bhovamania, marked a low point in a career that at one point seemed infallible, and his features lacked the spark that once made him the go-to guy for any artist in need of some stardust to propel their singles.
But the runaway success of Lemons, which went platinum in under two months, proved that AKA still had plenty to offer. And so too did the follow-up singles Paradise and Prada, two singles that showcased his eclectic range of musical influences. Sadly, just as things were coming together again, the 35-year-old was shot dead a fortnight before the album’s eagerly anticipated release. He never got to see his redemption arc through to its imminent completion. Despite this, his family and his team decided to execute the remainder of his album roll-out as best as they could and the album was released as planned on February 24.
AKA has always been a master at collaborating with other artists. In fact, his collaborations became so prolific that earlier in his career his detractors claimed he couldn’t make hits without featuring other artists (a claim he emphatically disproved with countless solo hits, including chart toppers like Congratulate, Sim Dope, The World Is Yours and Caiphus Song).
True to form, Mass Country sees AKA bring out the very best out of the jam packed list of artists that feature on here. Emtee, who’s been a shell of himself over the past few years, shows up with a stellar verse on the sparkling Crown, which also features the sweet-voiced Manana. On Mbuzi, Thato Saul tears through a menacing beat with a stunning verse that showcases exactly why there’s so much hype around him at the moment.
The new album also sees AKA and KDDO team up on the towering Company, which refreshingly sees AKA rap as effortlessly and compellingly as he has in years. It’s the perfect follow-up to 2018’s Fela In Versace, their smash hit single that took the continent by storm. On Paradise, which features amapiano star Musa Keys and Ghanaian singer Gyakie, AKA showcases his more playful side as he vibes with his co-stars and gives us a glimpse into the soft life.
As ever, there are various samples, interpolations and witty South African cultural references throughout the album.
On Amapiano, he interpolates Sergio Mendes’ Mas Que Nada; on Mbuzi he opens with Sister Bettina cut and adds a soundbite from a Benni McCarthy and Robert Marawa interview; and on Last Time he makes mention of Oros, potjiekos and Sphiwe Tshabalala’s iconic Bafana Bafana goal against Mexico at the 2010 FIFA World Cup.
Ease and Dangerous, which both notably feature catchy hooks from Blxckie, show that AKA still has his ear to the ground and willing to follow the lead of his more trendy and relevant contemporaries. Similarly, he also paves the way for artists like Sjava, 031Choppa and Baby S.O.N to shine on records like Sponono and Amapiano. Towards the end of the album, introspective cuts like Everest and Dairy (Anxiety) can feel sobering as AKA raps about some of his darkest days and shares insight into the pain he’s had to endure.
In album notes sent to media, AKA’s co-manager Nivo explained that Everest was one of the first songs he started working on for this project. Nivo recalled how, two weeks after Anele Tembe’s funeral, as he was walking to AKA’s house, he was surprised to hear music. “I’m like what’s going on, has this guy finally connected his studio? As I walk, I look and see that Kiernan had his studio set up in the garden and he was busy chopping up that sample repeatedly. That song to me was capturing Kiernan at his lowest emotionally, but showing his creativity the most.”
It’s difficult to objectively review posthumous albums, especially one such as this that dropped a mere two weeks after the artist perished so abruptly. But music isn’t objective, and emotions are an inherent part of it. While listening to Mass Country, AKA feels so close you can touch him. His larger-than-life persona feels way too vivid for us to have lost him while at the pomp of his career. But another way to look at it is AKA left us a fitting parting gift. A victory lap after a race well run.
