Big Zulu has shaken the South African hip-hop scene with his bold new diss track, “200 Bars,” where he directly calls out and critiques several of the country’s top-rated rappers. This fiery track has sparked immediate reactions across the industry, with artists like Cassper Nyovest, Emtee, Stogie T, Duncan, DJ Tira, and Nota Baloyi all finding themselves at the center of Big Zulu’s lyrical jabs.
In “200 Bars,” Big Zulu does not mince words, addressing Duncan with particularly sharp and witty lines. One standout bar, “Une Chiskop kodwa use Afro kunzima nok’faka iSingle,” pokes fun at Duncan’s well-known bald head (chiskop) while humorously suggesting that he’s metaphorically wearing an “Afro.” This jab not only plays on Duncan’s appearance but also implies inconsistency or contradiction in his career. Adding fuel to the fire, Big Zulu goes further, accusing Duncan of stealing “Afro” accessories—using the term metaphorically to imply that he might be pretending or borrowing styles to stay relevant. This level of wordplay and clever dissing has set the internet alight, with fans dissecting every line.
Trending Now: Big Zulu Ignites Drama with Explosive ‘200 Bars’ Diss Track
However, Duncan was not one to stay silent. Within just 24 hours of Big Zulu’s track dropping, Duncan, who is signed under Afrotainment, responded with his own diss track titled “After Tears.” Before releasing the track at 4 pm South African time, Duncan took to Twitter to express his views, claiming that Big Zulu’s “200 Bars” was being overhyped and that the praise it was receiving wasn’t deserved. He hinted that many in the industry were afraid to criticize Big Zulu, stating: “Here in South Africa, you guys are not honest. You are scared of Big Zulu. This diss track sucks, guys. We need to be honest for once, please.”
Duncan’s track, “After Tears,” opens with a voice note that quickly became a talking point on social media. Fans joked that Duncan could have stopped after the intro, but instead, he chose to deliver a full six-minute track, which many believe completely dismantles Big Zulu’s claims. In his response, Duncan goes on the offensive, calling into question Big Zulu’s authenticity in the hip-hop scene, claiming he pays for online trends and lacks a true understanding of the hip-hop lifestyle. Duncan’s response was not just about music but also touched on personal aspects, mocking Big Zulu’s alleged lack of style and questioning his approach to relationships.
Meanwhile, Emtee, another artist who was called out in “200 Bars,” took a different approach in responding to Big Zulu’s remarks. In the diss track, Big Zulu claimed that Emtee hasn’t had a hit since his time with Ambitiouz Entertainment and implied that his career has gone downhill. Instead of firing back with another diss track, Emtee chose to address the situation with maturity, stating that he won’t engage in a back-and-forth battle with Big Zulu. He tweeted, asking Big Zulu to leave him out of the drama, while also reminding fans that he has received more awards than Big Zulu over the course of his career. Emtee also hinted at new music on the horizon, promising fans that real music—not diss tracks—was coming soon.
As tensions continue to rise, fans of the genre are glued to social media, waiting to see who will respond next and how this beef will unfold. The immediate reactions to Big Zulu’s “200 Bars” have not only reignited competitive spirit in South African hip-hop but also sparked a broader conversation about the state of the industry, the importance of authenticity, and the role of diss tracks in the culture.
Big Zulu’s decision to drop “200 Bars” has clearly disrupted the peace in the South African rap world, and with Duncan’s swift response, it’s clear that this beef is far from over. While some artists are choosing to respond with music, others, like Emtee, are opting to rise above the fray and focus on their craft. One thing’s for sure—the hip-hop community is buzzing, and fans are eagerly anticipating the next chapter in this saga. The coming days will likely see more responses, more tweets, and perhaps more diss tracks as the drama continues to unfold.
This brewing feud showcases not only the competitive nature of hip-hop but also the diverse ways in which artists choose to handle conflict, from the quick-fire lyrical responses to the measured, more strategic replies. As more artists get pulled into the conversation, fans can only wonder: will this end in reconciliation, or are we witnessing the beginning of a new era of rap battles in South Africa? Either way, it’s an exciting time to be following the SA hip-hop scene.
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