Afrobeats and amapiano are among the most beloved musical exports to hail from African shores, with these genres not only doing justice to represent soul but also to celebrate life through earnest songwriting and production which inspire an appreciation for existence. At this current juncture, the former and the latter are not mere Nigerian and South African waves, respectively, but cosmopolitan movements which aspire to interpret what fun and rejoicing is according to the African lens. Confuse the Enemy, the debut collaborative EP by Mzansi rapper Nasty C and London-based producer Lekaa Beats, is not only an attempt to embody these things but a bold move to push boundary stones.
The pair’s virgin offering is an afrofusion project with a high concentration of afrobeats and amapiano production, foreign sonic territory for the “SMA” hip-hop star and a total creative about-face when juxtaposed with Ivyson Pack (2024) and I Love It Here (2023). Guided by a production lineup which includes Lekaa Beats, Pat MBTB, Rymez, Lilo, and Oliver Rio, as well as Nasty C’s Midas Touch in surfing on the beat selection, Confuse the Enemy manages to live up to the apt prophecy carried by its title. Built like a hamper basket, the five-song EP is decorated with various assortments of log drum treatments, soft reimaginations of glitchy drill, and rhythmic percussions and drum patterns of warm afrobeats – something for everyone yet without necessarily being forced.
Confuse the Enemy cover art | SUPPLIED
Economy is the extended play’s greatest strength as well as the unwasted features. Shirking the convention of overly long songs is a move that squeezes the best out of the primary artists as they all stay on track, reaching thematic destinations of the appreciation of life (“Qweller’s Prayer”), romance (“Ngingo Wakho”), and groove life (“Life of the Party” and “Loaded Clip”). As short as the train ride is, Nasty C and Lekaa manage to make vital stops, the embarking of the guests colours the EP with Daliwonga’s charm, Zee Nxumalo’s energy, Gabzy’s soul, and Odumoblvck’s heart among other things.
The EP’s flying moments are arguably the parts when Nasty C leans into South African flavour, not only embracing the Zunglish accent but going full-on Zulu in his songwriting, such as on “Ngingo Wakho” and “Qweller’s Prayer”, with the influence of the late Supa Mega being all over the latter. From the backward-looking sampling and interpolation of Thebe’s classic record “Groover’s Prayer” on “Qweller’s Prayer”, to opening himself up to flow like Okmalumkoolkat on “Life of the Party”, Nasty C presents himself as an evolving specimen. Although he still raps in the EP, he flashes other sides of him, making the EP a very subtle transition and evolution – one that’s ear candy rather than an experimental cacophony born of pandering.
Watch “Life of the Party”:
Confuse the Enemy might be a wildcard entry in Nasty’s discography, but it’s not because the musical acumen isn’t there. The rapper has established himself as one of Africa’s premium hip-hop acts, and he’s so far up on the totem pole that him jumping on a piano beat might’ve been a risible thought years and years ago. Yet, there’s an uncanny competency in his execution and undeniable chemistry between him and Lekaa. The shape of his experimental brainchild with his musical partner isn’t as fully realised as his solo releases, but it’s a worthwhile piece of work that will elicit a dance move or two from those who hear its songs.
