Hennessy Cypher 2026 has arrived, marking the 15th anniversary of the rap showcase with six artists from across Africa and the diaspora performing over a beat by Nigerian producer Sarz.
Shot in Johannesburg and released on August 7, the edition features Enny, Fena Gitu, Kwesi Arthur, Suspect 95, Tenor, and Yanga Chief. For the first time in the series’ run, two Francophone African artists appear on the same edition: Côte d’Ivoire’s Suspect 95 and Cameroon’s Tenor.
Kwesi Arthur Addresses Conflict and Pays Tribute
Ghana’s Kwesi Arthur opens his verse with a reference to the film The Sixth Sense by way of The Game’s “It’s Okay (One Blood).” He names Goma, Sudan, and Nigeria, drawing attention to civil war, displacement, and starvation.
“I feel the world has turned its head away from our people in these areas on the continent where civil war and unrest have made thousands of people lose their lives, millions displaced, and families torn apart,” he said. “There’s hunger in these parts of the world; people are dying of starvation, and it’s not talked about enough. Nothing is being done about it.”
He also pays homage to the late Daddy Lumba, whose contributions to highlife made him one of the most influential Ghanaian musicians of his generation. Sarz’s beat interpolates Michael Jackson‘s “Liberian Girl,” the same source Jermaine Dupri looped for MC Lyte’s “Keep On, Keepin’ On,” and adds amapiano-leaning log drums.
“I was challenged by Sarz the most, because of the beat,” Kwesi Arthur said. “I had to find pockets within it to share the message I wanted to get across in the best way I could. The beat is a banger within itself.”
Enny, Suspect 95, and Fena Gitu Step Up
British-Nigerian artist Enny delivers a verse that leans on poetic precision. “There was trust between you and I / the sign of a cross before a dotted eye,” she raps, later adding, “the devil’s in the details, and I’m learning to read well.”
“The only person I’m ever trying to prove anything to is myself,” Enny said. “And it was more so performing over a beat I wouldn’t traditionally go on.”
Suspect 95 follows with a focus on vocal tone and texture. He said rap is his “first passion.” “Regardless of the evolution of rap today, which tends to move away from the basic codes, I wanted to show that this original rap still deserves to have its place,” he said.
Kenya’s Fena Gitu raps about economic pressure and self-assurance: “in this economy, oil is too expensive / I’m loyal to the expenses / losses, too many / sorry if I don’t come across as too friendly / and I get cocky as hell [then] sip Henny.”
“I trust in God’s timing, I care deeply about my people, and I’m always praying and working towards better days,” she said. “We stand on the shoulders of hip-hop giants across the continent, and today we are surrounded by some of the sharpest creators of this generation and the next. This cypher shows that despite our different languages, cultures, sounds and experiences, we are one. And when African hip-hop moves as one, we can only win.”
Yanga Chief and Tenor Close the Cypher
South Africa’s Yanga Chief brings a veteran’s perspective to his verse. “From where I’m sitting, it’s just looking like the street’s a mess / couple young guns that I’m loving, y’all can keep the rest,” he raps.
“There are seasons in rap where certain styles are the trend, but for me I’ve always just had my own unique approach,” he said. “It’s allowed me to stay unpredictable. This cypher was an opportunity to share that signature flow with the rest of the continent.”
Tenor closes the edition with a verse in French, English, and Cameroonian Pidgin. “I’m the best rapper in my country, and I’m not afraid to say it,” he said. “I wanted to show that Cameroon is a country of great rappers, and I’m proud to represent it.”
Sarz Builds a Shared Sonic Landscape
Sarz said he approached the beat with a balance in mind. “When I was building the beat for Hennessy Cypher, I thought about doing something that’s authentically hip-hop but at the same time something that has groove, because I know Africans love groove,” he said. “It was just about finding the middle ground of something that’s groovy but also rooted in hip-hop.”
“Everyone came in thinking about how to make the beat better,” he added. “It was a collaborative process. I’m happy with the result.”
