For all his talent in making music, Holy Ten is an artist that has become synonymous with controvesy. Grabbing headlines with drama and not sound. This being especially true for 2025. Whether it's a podcast interview, an Instagram live, a voice note, the rapper has been motor mouthed and constantly igniting discourse.
Once upon a time revered as the "leader of the youth," Holy's public image has become more villain than hero. His 2020 breakout moment with "Ndaremerwa," that saw Zimbabwe fall in love with him as a storyteller of our lived experiences, long forgotten.
Following an interview with Ollah7 that saw Ollah arrested for Holy Ten's words, an album launch that wasn't followed by the release of an actual album, and a 2 month long sabbatical from social media, the rapper released "Musoro weNzou," his 7th solo album.
Announced only days before it's release, in true Holy Ten fashion, the album had a chaotic rollout. It was uploaded, deleted, leaked and then finally released.
Although Holy Ten has undoubtedly been an explorer of different sounds in hip hop, his albums have often been bodies of sound that didn't live up to their potential.
A Holy Ten album has felt routine, as if the rapper knows he's good but he's just going through the motions. It had started feeling like the rapper had lost the ability to surprise us. Which is why "Musoro weNzou" feels so brilliant.
Paying homage to himself and his totem (Nzou - Elephant), the Samanyanga Sounds CEO sounds rejuvenated and sincere, over 10 (or 11) tracks that carry a distinctly Zimbabwean sound. There's recognisable care and consideration in his beat selection, sequencing and his storytelling is at it's most cohesive. His cadence is moulded to the instrumental at hand, and narration paired with clever wordplay to great effect.
The praise of the power of prayer, "Ndikanamata," sees Holy Ten's hoarse harmonisation offset by Feli Nandi's soft vocals over twinkling marimba keys, "Bhundu Prefects" has an outspoken narration of everyday life in Zimbabwe (verging on the allegorical) over a trap beat with an infectious bounce, while "Mugomo" is a poignant lamentation with a sungura inspired tempo and sound, and a brilliant performance from Jack Miles on the chorus.
Alongside ScripMula, Holy Ten pays homage to his mother on "Mapapiro," a beautiful crafted song that displays Scrip's under appreciated ability on hooks. The boisterous Holy Ten we've become accustomed to is almost nonexistent, and throughout Musoro weNzou the rapper sounds heartfelt. Substance abuse, mental health, faith and love are explored with a sensitivity that Holy Ten had rarely showcased in the last few years.
Aided by Nyasha David the love song "Personal" tugs on heartstrings, "Mwana Wenyu" brings a reunion we didn't expect to see as Holy Ten combines with Saintfloew for a somber track that sees both rappers being vulnerable in their reflections on how life is, and "Hapana Space" sounds ethereal as Holy Ten reflects on his decisions and moments of despair as he drives home the message that we need to make the best of our time on on Earth: "Ndakapotsa ndafa, I just had to ride correct."
Musoro weNzou's soundscapes pay homage to the sounds that have defined Zimbabwean music, while remaining current. Inclined to the album titled, the theme that comes to the fore throughout the project is "heavy is the head that wears the crown." Yet not in terms of being the king of hip hop or the occupier of any other public position but in terms of responsibilities.
"Ganza" the collaboration with Oriyano that was released as a single for the previous album even sounds different in the context of Musoro weNzou. The maturity we saw glimmers of on Proud Father, is fully showcased on the ten tracks that make this project. A new magnum opus for the rapper. Holy Ten at his best.
Greedysouth rating: 8/10
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