We’re still pushing boundaries and profiling the best talent across the continent, with a strong focus on South African rappers this year. This marks back-to-back Women in African Hip-hop features spotlighting a South African artist. This time, we shine the light on none other than Leezy Lindokuhle. I first crossed paths with her a few years ago and have since watched her consistently make power moves in the game. To this day, she’s still breaking boundaries and carving her own lane. Born Lindokuhle Angel Khumalo and known professionally as Leezy Lindokuhle – aka Queen Don – she’s a rising star in the South African music scene. Hailing from Snake Park in Soweto, the 26-year-old is a multi-talented creative force. Not only is she a rapper and songwriter, but she’s also a performer, model, creative director and music producer. Her love for hip-hop sparked at a young age. Influenced by legends like 50 Cent, Eminem, and 2Pac, now she’s adding her own voice to the culture. Let’s sit down and enjoy the powerful conversation I had with the one and only Queen Don.
Take us back to Snake Park – how did growing up in Soweto shape the artist you are today?
Growing up in a place like Snake Park was never easy; it was a bittersweet experience. The neighbourhood holds both good and bad memories, each shaping who I am today. Despite the challenges, I’m forever grateful to have been part of that community. More than anything, Snake Park taught me resilience and the true meaning of the phrase “it’s not about where you come from, but where you’re going”. That lesson has stayed with me, and I always believe that at any moment, life can change for the better.
Who introduced you to hip-hop, and what was it about artists like 50 Cent, Eminem and 2Pac that pulled you in?
My late brother was the one who first introduced me to hip-hop. In fact, both of my late brothers were into it. The older one didn’t live with us, but whenever he visited, I’d hear them debate about who was more “goated” between 50 Cent and Eminem. My other brother, the one who lived with us, would always play DVDs and CDs of 50 Cent and Eminem’s music videos. Even at a young age, their music grabbed my attention. It sounded so cool and catchy, and I’d often find myself singing along.
Then there was 2Pac. I remember moments when my brother and our cousins – who were rappers themselves – would bump his tracks. That environment pulled me in. As I grew older, I started doing my own research on these artists. What stood out to me was their authenticity, confidence and resilience. They kept pushing no matter what. That spirit inspired me deeply and made me want to tap in and be part of this culture.
You started rapping back in 2014 in high school. Do you remember your very first verse or performance?
I had to pause for a moment and think about that one. But, hell no, I don’t remember my first verse. However, I do remember being the only woman who would battle a group of male rappers during lunch at school, and that felt good. My first performance came in Grade 9. I was surrounded by classmates, and I was talking my talk in the middle of the circle.
Your sound is a fusion of African trap, kasi rap and kwaito. How did you land on that blend, and what does each element mean to you?
I think the way I landed on this blend of African trap, kasi rap and kwaito sound comes from being a woman who grew up in the hood. Kasi rap and kwaito were the sounds that truly told our stories, and I knew from early on that I wanted to be original with my music.
For me, originality meant infusing kasi rap into my sound because I am kasi. I grew up in the kasi; I still live in the kasi, and that’s the world I know best. The African trap influence came from the ATM movement with artists like Emtee, Sjava, Ruff and others. The first time I heard African trap, I thought it sounded so fresh. It had this cool fusion of African musical elements and hip-hop. It was unique, and I knew I wanted to bring that into my sound too. Kwaito, on the other hand, has always been about telling kasi stories but in a way that makes people want to dance. So, for me, kasi rap represents originality, African trap brings the style and sauce and kwaito represents freedom.
How do you balance your lyrical storytelling with the rhythm and energy that comes with kasi and kwaito influences?
I think I create the balance by simply being calm and allowing myself to connect with the beat before anything. If the production carries elements of both kasi rap and kwaito, I will do it. However, if that isn’t the case, I will not force it.
Who are some South African women in hip-hop you admire or who’ve inspired your journey?
When it comes to OGs, I really admire Nadia Nakai, and for the new generation, it has to be Dee Koala. What I love about both of these incredible women is how they’ve managed to keep pushing forward in a male-dominated industry. Beyond that, I admire how they don’t limit themselves to being seen as just “female rappers”. They’ve built powerful, reputable brands through hard work and consistency. They carry themselves as serious artists and businesswomen, and that’s something I deeply respect and aspire to be.
You’ve won major challenges like the Bettr.App #OwnTheBeat and the #SABC1siON Rap Challenge – how did those moments impact your career?
As an upcoming artist working my way to the top of the music industry, I’ve entered quite a number of competitions, and whether I won or not, each one has played a role in helping me grow as a brand and build my name. One of my biggest milestones was winning the Bettr.App competition, which gave me the incredible opportunity to perform at Cotton Fest for the first time. That experience was unforgettable.
Another major moment was winning the SABC 1 S’phumelele competition, which earned me an invite to attend the SA Hip-Hop Awards, an inspiring experience that reminded me I’m on the right path. More recently, I won the #SunlightDropYourBar competition, which has been one of my biggest career highlights so far. Being announced as the winner on the big stage at Maftown Heights was surreal and truly unforgettable.
These competitions have brought me closer and closer to my dreams, and I’m proud that I’ve never shied away from them. I believe that if I had feared competition, I wouldn’t have gained the opportunities, exposure and connections I now have. Every stage and every challenge has pushed me forward – and I’m only getting started.
What was it like being a finalist in the Sportscene x Puma South Africa competition? Did it open any new doors for you?
I have a wild story when it comes to the Sportscene #PutMeOn competition. I entered it twice during my come-up – first in 2020, when I made it to the Top 30, and again in 2022, when I pushed further and made it to the Top 10. Even though I never won, #PutMeOn played a huge role in my journey as an artist.
The exposure I got from the competition opened doors I never imagined. It led to me working with major clothing brands like Redbat and Puma South Africa, which was a big milestone for my brand. One of the most unforgettable moments was in 2021, when Sportscene flew me out for a Redbat campaign. That was my first-ever flight, and it meant the world to me.
So, a big shoutout to Sportscene for truly putting on for young, up-and-coming talent. The platform gave me recognition and real opportunities and helped shape the artist I’m becoming today.
You’ve rocked stages at Cotton Fest three years in a row. What’s the energy like performing at one of the country’s biggest culture festivals?
Trust me, the energy is always operating on another level at Cotton Fest. It’s such a beautiful experience to have as a musician. I love everything about Cotton Fest because, for me, it always comes as a reminder that I’m actually there. It’s just a matter of time because you also get to see all the other big artists doing what they love. A big shoutout to Riky Rick.
Beyond rapping, you’re also a model, songwriter, producer and creative director. How do you manage all these creative lanes?
I think managing these other talents isn’t much of a problem for me because they still require me to use my creative juices, and there’s nothing I love more than that. Everything I do is aligned, and that makes it easy because modelling, songwriting, producing, performing and creative directing are just one package, to be honest. Like they say, to become a successful artist, it’s important to tap into different parts of your artistic talents.
Which part of the creative process do you enjoy the most – writing bars, being on stage or curating your visual identity?
I really do love writing bars because to me, that’s expression. It’s a way for me to release some of the thoughts that fill my mind. In the same breath, I really do love curating my visual identity as that allows me to visualise exactly how I want to sell my brand to the people. Visualisation helps with bringing your manifestation into life. That’s the reason I love curating my visual identity.
Do you produce your own beats? If so, how does producing influence your writing process?
No, I don’t; however, I do have a diploma in digital music production and composition. I did the course at Boston Media House Soul Candi 2019 on a bursary that was funded by Moflava.
You’ve dropped music like ‘Yizo Yizo’, ‘Khuzani’ and ‘Koko’. Which of your releases feels most personal, and why?
‘Koko’ feels personal because I dropped the song after having gone the whole of 2023 without dropping music. This was due to some tragic situations and events that I was dealing with in my personal life. Therefore, when I wrote this song, I just felt like putting it out to the universe… I have been trying my best to make it big. I have been knocking on these doors of success – can they finally open? So, it’s personal to me because it came at a time when I wanted to give up and just get a job. However, when that concept came to mind, I immediately woke up and told myself this stage shall pass too, and here I am back and getting my groove once again.
How did your collaboration on Afterschool Is Afterschool with Mustbedubz and Champuru Makhenzo come about?
The collaboration came about when Champuru Makhenzo hit me up and asked me to deliver a verse for him. I had worked with Champuru Makhenzo on the ‘Danko Zalo 2.0’ track, which also played a huge role in my come-up.
The track ‘Mnike’ was a moment. How did you get involved, and what did that feature mean for your visibility?
Yeah, ‘Mnike’ was a moment for real. People really loved it, and they still do till today. It all started with Phantom Steeze inviting me over for a studio session, and we ended up creating magic. Also, the feature meant so much for my visibility because Phantom Steeze is a gee in his own right and has created a solid brand for himself.
What’s been the biggest challenge you’ve faced as a woman navigating the South African hip-hop space?
To be honest, hip-hop is very competitive, and since it’s a male-dominated industry, I think the biggest challenge has to be finding people who are of your soul tribe. I say this because in the end, for every great artist, there is a great team behind them. So, finding genuine people can be a bit of a challenge because you just never know someone’s intentions until you get close to them.
Moreover, as a male-dominated space, my challenge has been me not understanding why it is hard for women in the industry to put each other on. You rarely find women co-signing each other, and I think we need to start doing that more often. Finally, men always wanting to involve business with pleasure has been one of the challenges I faced in my early years of entering the music business. However, as I have grown, I have learnt to be vocal about what I would tolerate and what I won’t. If someone tries to overstep my boundaries, I separate myself.
Do you feel like the industry is finally ready to make room for more diverse female voices?
I think in this game, you literally have to fight your way through as a woman. Women in hip-hop rarely get co-signed by other big rappers. So, my advice to every female rapper coming up is to just keep doing you. Create a solid brand for yourself by doing the things that will help you start forming a community and people who support your craft. That’s the only way to win. We have the internet now. If people love your work, gatekeepers will have no choice but to let people in. Also, I think it’s important for women to put themselves out there. Enter those competitions and post that content! That’s the only way the industry can open for you.
If you could speak to your younger self starting out in Snake Park, what advice would you give her?
Be easy with yourself and your life. Don’t chase what is outside, but rather what is within. Remember to love yourself and don’t rush the process.
What’s next for Leezy Lindokuhle – can fans expect a debut album or a full-length project soon?
It’s been a long time coming… I have been dropping singles, but finally, I’m working on a project. So, my supporters should expect an EP this year. Meanwhile, I will continue keeping them updated with my freestyles.
What legacy do you hope to leave behind for the young women in hip-hop coming after you?
I hope to leave a platform that will solely focus on young women coming up in the entertainment industry. A community that will push the movement of togetherness and support amongst women. I want this platform to also be a place where women can come together to learn about self-love and working for things they want, because nothing is free in this world. Last but not least, I want to leave a legacy for young women in hip-hop, especially ones who come from disadvantaged backgrounds like me. All dreams are valid, and it’s never about where you come from but always about getting what’s yours and never waiting for anybody to come rescue you.
