Watch Tkay Maidza’s new video for ‘U-Huh’

Tkay Maidza, an Australian rapper by way of Zimbabwe, shares new music video for ‘U-Huh’.

Photo: Courtesy of the publicist


Tkay Maidza
Photo: Courtesy of the publicist

Already a rising star in Australia, Adelaide-by-way-of-Zimbabwe Tkay Maidza’s made her first mark on the United States with debut video for ‘U-Huh’ last month, showing an incredibly fierce and fearless young woman, her lightning-fast flow and clever wordplay sparks with an insatiable hook that urges you to dance. Entertainment Weekly called her “the closest thing we have right now to a reincarnation of early MIA”, and Fader noted that “her new single’s squeaky beat and unapologetically catchy schoolyard chanting are certainly enough to tide you over until more surfaces.”

Fortunately for us, a new single has emerged with her track ‘Finish Them’ getting the production treatment from Night Slugs co-founder Bok Bok. You can stream the track via this link. Watch her video for ‘U-Huh’, made by the legendary Josh Logue from Mathematics:

From teaming up with Swick and Lewis Cancut for the clubby bass-rattler ‘Arm Up’ to touring across Australia with Nina Las Vegas with Wave Racer, Cosmo’s Midnight, Emoh Instead, and her producer Elk on ‘U-Huh’, Tkay Maidza has already been hailed as the hyper new face of Hip-Hop.

Tkay has been gaining success since she released her first singles ‘Bronotsaurus’ and ‘Handle My Ego’ with major radio love from its most influential station Triple J. She was one of the most talked about artists at Splendour in the Grass, called out by the Sydney Morning Herald as one of their not to miss acts and drawing a massive crowd for her early set. Concrete Playground caught her set “Filling out the Mix Up tent with the very first Friday slot is no mean feat, but Adelaide’s 17-year-old Tkay Maidza managed to get a colossal roundup of early-rising brontosaurus feet stomping.”


Written by Manny King John

Alex & The Kaleidoscope Band

Interview: Alex Mitnick (Alex & The Kaleidoscope Band)

A review on ‘Oatworks’