You couldn’t get far in Johannesburg this summer without hearing AKA’s “Lemons (Lemonade)”.
The veteran South African rapper’s triumphant comeback single gave Mzansi a bona fide hit and signified his return to the top.
His fans, whom he dubbed The Megacy, had loudly yearned for a hit single to champion for years, and the Supa Mega had finally delivered it.
It was the perfect lead single to kick start the roll-out to his eagerly anticipated fourth studio album, “Mass Country”. The wheels were turning again, and the hype was electric.
Then, like a cruel plot twist, earlier this month, AKA was gunned down in cold blood outside a Durban restaurant.
Widely circulated leaked CCTV footage showed a gunman run up to the 35-year-old and callously fire a single headshot a few moments after he warmly embraced his former manager and close friend, Tebello “Tibz” Motsoane.
Tibz, too, was killed in the crossfire. Just like that, AKA’s flame was extinguished.
But over the past two weeks, eager not to let his comeback story fall flat, his family and his label proceeded with the album roll-out. In a way, his death has ratcheted up the anticipation.
“Mass Country”, released posthumously on Friday, cements AKA’s legacy as one of the country’s musical greats.
The album title symbolises both AKA’s desire to merge the sounds of maskandi and country music and his desire to create music that is, in his own words, for the “masses of the country”.
AKA’s patriotism has been one of his most enduring qualities throughout his glittering career.
On the album intro, “Last Time”, he shouts out to local musical legends like Zakes Bantwini, Skwatta Kamp, Khuli Chana and Johnny Clegg.
He also playfully references Oros, potjiekos and Sphiwe Tshabalala’s iconic opening goal for Bafana Bafana at the 2010 Fifa World Cup.
In typical AKA fashion, “Mass Country” sounds grand and dynamic.
Having spent much of the early part of his career as part of the prolific production trio, Ivy League, AKA has an uncanny ability to extract the best out of his collaborators.
On “Lemons” and “Prada”, he manages to bring out the best in Nasty C and Khuli Chana, who both deliver arguably the best verses of their careers.
On “Crown”, Emtee, who hasn't been himself for years now, shows up large and in charge. Blxckie, Thato Saul, Nadia Nakai and Yanga also fit in seamlessly on their respective features.
Nigerian afro-beats producer KDDO, whom AKA previously collaborated with on the continental smash hit “Fela In Versace”, brings his hit-making expertise to the table with album standout “Company”.
During an album listening session on Thursday night, AKA's co-manager Nhlanhla “Nivo” Ndimande revealed that were it not for clearance issues, Wizkid would've featured on the song, too.
What a moment that would’ve been.
AKA tired of rap a long time ago. He mentioned in countless interviews over the years that rapping felt too easy and bored him and that he was embracing the challenge of singing and creating pop records.
Despite this outlook, there are moments on “Mass Country” where he raps his socks off, most notably on “Mbuzi (Freestyle)”.
Many of the lyrics on the album are haunting, as if he somehow knew he was about to die.
“This is the last time,” he sings repeatedly in the intro. “It’s crazy for me to say this, but I think spiritually, Kiernan knew that this was his last project,” said Nivo.
“Him adding ‘Last Time’ and making it the first song on the album speaks volumes.
“His dad used to play the original last time that he referenced. So, it was like a ‘Let’s do this thing one more time guys’. That’s why I’m like, spiritually, he kind of knew.
“Kiernan’s never submitted an album so early in his life. ‘Bhovamania’ was submitted at 9pm for a midnight drop. Spiritually, he knew, even if he didn’t know consciously.”
While listening to the album, it’s difficult to escape the thought that this is the last we'll hear of AKA.
There's an inescapable sense of loss. But the music lives on. And one thing's for sure, he gave it his all, like he always did.