In August 2022, Big Zulu released a diss track titled “150 Bars,” which targeted several prominent South African rappers, including KP, Vest, AKA, KO, Duncan, and Stoy T.

Initially, Big Zulu claimed that the track was meant for friendly competition.

However, many fans speculated that his choice of targets was more personal than mere rivalry.

Notably, he refrained from mentioning Aries and his close friend, rapper Zag, raising questions about his motivations.

As the situation unfolded, it became clear that Big Zulu’s diss was rooted in deeper conflicts, especially after other artists retaliated with their own diss tracks, some of which included personal attacks on Big Zulu’s family and allegations of his abusive behavior towards women.

This escalation marked a significant turning point in the South African hip-hop scene.

Fast forward to September 2024, Big Zulu released a follow-up diss track titled “200 Bars.

” The new track continued to escalate the beef, revealing the ongoing tensions between him and various rappers.

To understand the origins of this conflict, one must look back at Big Zulu’s journey.

Before his rise to fame, he worked as a taxi driver, a profession that connected him to a network of individuals in the transportation industry.

In 2008, he left his job to pursue a music career, eventually signing with Universal Records in 2015.

His debut album, “Kabi,” was released in July 2018, followed by successful collaborations that helped him gain traction in the industry.

However, as he gained fame, so did the scrutiny and rivalries that came with it.

Big Zulu’s earlier tracks, including “50 Bars” and “100 Bars,” showcased his lyrical prowess and ability to call out fellow artists.

In “50 Bars,” he mentioned Stoy T, Qua, and Kaspavest, creating a buzz in the hip-hop community.

However, the tone shifted dramatically in “150 Bars,” where he accused these artists of being irrelevant and lacking authenticity in their music.

His aggressive style and bold claims caught the attention of many, leading to a wave of responses from the artists he targeted.

Notably, the South African taxi industry, known for its dangerous reputation, added an element of fear among the rappers mentioned in his diss tracks.

Many were hesitant to retaliate directly, knowing Big Zulu’s connections could potentially lead to real-world consequences.

The response from the hip-hop community was mixed.

While some artists chose to ignore Big Zulu’s provocations, others felt compelled to respond.

For instance, Mt, instead of releasing a diss track, opted to share his thoughts during interviews and on social media platforms.

He expressed his disdain for the nature of the diss tracks, emphasizing that they lacked substance and were more about sensationalism than genuine talent.

Meanwhile, Nota, a controversial figure in the industry, also weighed in, criticizing Big Zulu for his approach and claiming that real beef should involve more than just lyrical jabs.

This sentiment resonated with many fans who believed that the diss tracks were veering away from the essence of hip-hop.

As the diss tracks piled up, it became evident that the conflict was not just about music but also personal grievances.

Kaspavest, in his response track “Four Steps Back,” highlighted how he had previously supported Big Zulu’s career and accused him of relying on collaborations to achieve success.

He also brought up allegations of Big Zulu’s history with domestic violence, igniting further controversy.

This accusation was not new; it had been discussed in the media since 2018 when Big Zulu faced legal issues related to domestic violence.

As the beef intensified, other artists like KO and Duncan joined the fray, each delivering their own critiques and insults.

The exchanges became increasingly hostile, with Duncan’s track “Omu,” meaning funeral, taking a particularly aggressive tone as he threatened Big Zulu and accused him of lacking authenticity.

Despite the chaos, Big Zulu maintained that his intentions were to revive South African hip-hop, which he believed was in a state of decline.

However, his approach drew criticism, particularly from established artists like AKA, who argued that one cannot create a diss track and then claim respect for the very artists they are targeting.

The ongoing back-and-forth has captivated fans, but it has also raised concerns about the potential for real-life violence.

As both Big Zulu and Duncan continue to exchange barbs, the fear remains that this feud could escalate beyond music, leading to physical confrontations.

The South African hip-hop scene is at a crossroads, with artists facing the challenge of balancing competition with respect, all while navigating the complexities of their personal and professional relationships.