K.O unpacks ‘Phara City’ and SA’s crime crisis on podcast amid police syndicate scandal

As South Africa stares down the barrel of a burgeoning corruption crisis ignited by revelations from General Nhlanhla Mkhwanazi about a criminal syndicate infiltrating government, renowned rapper K.O, born Ntokozo Mdluli, has offered a poignant perspective through his latest album, “Phara City”. 

In a recent conversation with podcaster and activist Sizwe Mpofu-Walsh, the acclaimed artist delved into the concept-driven depths of his new work, reflecting on the societal inequities and despondencies that echo in the lives of ordinary South Africans.

“Phara City” presents a musical canvas that illustrates the contrast of crime, wealth and lawlessness permeating SA's landscape. 

K.O's album draws inspiration from a collage of figures, ranging from street hustlers to affluent figures operating luxury car empires and now, undercharged revelations of politicised corruption surfaced by Mkhwanazi. 

Mkhwanazi's allegations, which include claims of government officials collaborating with crime, paint a grim picture of state-sponsored lawlessness, triggering concerns about the integrity of law enforcement. 

During the podcast, K.O acknowledged the album’s almost prophetic arrival amid a national reckoning.

“The thing is, music is an anointment,” he stated, emphasising that artists often underestimate their voices as channels through which societal truths are conveyed.

While Mkhwanazi outlines institutional abuses, K.O opts for a raw, cultural narrative - one that rings with authenticity far beyond any prepared political discourse.

His music, he argues, speaks to the painful realities faced by marginalised communities, a truth that resounds louder than any press briefing. 

“And depriving your own greatness… solely because you want to be one-dimensional and make people dance? That’s a disservice to what our society is supposed to be,” K.O asserted, encapsulating a generation’s frustration with the music industry's fixation on superficial trends rather than the harrowing experiences of its audience. 

He insists that artists must align with the emotional realities of their communities, especially during tumultuous times that demand more than just escapism.

As he described the essence of “Phara City”, K.O likened it to “Gotham’s grit or Sin City’s edge,” gesturing towards the socio-economic scars and hard-won victories that define SA’s underdogs.

The record unflinchingly captures the struggles of everyday life, framed against the backdrop of escalating crime rates, gang violence and the haunting spectre of gender-based violence (GBV), addressing a society grappling with escalating fears over safety and justice.

He noted that his music must serve as a beacon of motivation and therapy for the public, which is increasingly overwhelmed by financial stressors. 

As the nation stands at a critical juncture, with President Cyril Ramaphosa announcing a judicial commission of inquiry into the troubling claims of corruption in law enforcement, K.O’s “Phara City” serves as both a reminder of the challenges ahead and a rallying cry for transformative action through the arts.