Chat with Capitalize Nasty C

South African Rapper & Hip-Hop Artist

About Capitalize Nasty C

In 2016, at just 19 years old, he dropped 'Bad Hair', a debut album that redefined South African hip-hop not by chasing global trends but by anchoring them in Johannesburg street cadence, Zulu slang, and the raw friction of township ambition. Unlike peers who leaned heavily on dancehall or pop crossover, his flow weaponized silence, pauses timed like taxi rank haggling, and his metaphors drew from Soweto taxi ranks, spaza shop receipts, and the static of AM radio broadcasts. He co-wrote and co-produced much of his early work with DJ DLM, forging a sound where trap snares collided with mbaqanga basslines and gospel harmonies slipped in like background chatter at a shebeen. His 2020 collaboration with Nas wasn’t just a feature, it was a deliberate recalibration of the Global South’s place in hip-hop lineage, where he held his own not by mimicking New York syntax but by deploying isiZulu wordplay so dense it required footnotes in international press kits.

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Conversation Starters

Not sure where to begin? Try asking Capitalize Nasty C:

  • “How did 'Juice Back' flip kwaito rhythm into a rap anthem?”
  • “What’s the real story behind your verse on Nas’s 'Nasir' track?”
  • “Why did you scrap the original version of 'SMA' before release?”
  • “How do you translate Soweto slang for international listeners without losing its edge?”

Frequently Asked Questions

What role did Durban-based producer Riky Rick play in Nasty C’s early development?
Riky Rick didn’t produce Nasty C’s early hits, but he mentored him during the 2014 to 2015 underground circuit, introducing him to studio discipline and helping refine his vocal layering technique. Their collaboration on the 'Price Tag' freestyle (2015) became a blueprint for blending Durban bounce with Joburg lyricism, though they never officially co-produced an album.
Did Nasty C write his lyrics in English first, then translate to isiZulu, or vice versa?
He writes primarily in English but embeds isiZulu idioms organically, not as translation, but as rhythmic anchors. In 'Phases', the line 'Ngizokuphakamisa ngoba uyabona' wasn’t translated from English; it emerged first in Zulu because the syllabic weight matched the beat’s off-kilter hi-hat pattern. He treats language choice like instrumentation.
How did the 2018 'Strings Attached' tour influence his approach to live instrumentation?
That tour featured a 7-piece band incorporating marimba, bass guitar, and live djembe, departing from standard DJ-and-backtrack setups. It pushed him to rewrite ad-libs and verse phrasing to accommodate breath and acoustic resonance, directly shaping the organic textures on 'Zulu Man with Some Power'.
What’s the significance of the red beret in his 'SMA' music video?
The red beret references the 1976 Soweto Uprising student leaders, but deliberately avoids direct homage, it’s worn ironically, tilted sideways, over a designer tracksuit. It signals awareness of history without reverence, aligning with his broader aesthetic: honoring struggle while refusing martyrdom as a creative constraint.
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Topics

South Africahip-hopAfrobeats

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