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The emerging Lekompo star passed away following a tragic car accident. Her management officially confirmed the news, stating that she succumbed to her injuries despite the efforts of medical personnel.
Her passing marks a devastating loss to the Lekompo music scene, where she was regarded as a rising talent with a promising future.
“It is with deep sadness that we announce the untimely passing of Phalaborwa-based Lekompo vocalist, Queen Terc. The talented artist was widely known for her hit song ‘MPOTXE NINE NINE’ alongside Calto Phb, which touched the hearts of many fans,” the statement reads.

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The loved ones of the late Oupa John Sefoka better known to the world as DJ Sumbody released a poignant formal statement.

This follows a wave of fresh allegations that surfaced on 19 April, threatening to derail the family’s quest for peace.

“As the family of the late Oupa John Sefoka, popularly known as DJ Sumbody, we are deeply disturbed by the article published on 19 April 2026 and by the false, reckless, and baseless allegations that have since circulated in public discourse and across social media platforms.

As a family, we will not be drawn into responding to unfounded allegations, speculation, or trial by media. What has been published and said publicly has caused us to relive the pain and trauma of the events of 20 November 2022, a day that changed our lives forever.

“This matter remains the subject of an ongoing legal process, and the merits of the case are still before the courts. We have full respect for the judicial process and the criminal justice system currently unfolding, and for that reason, we will not entertain false and baseless allegations made outside of that process,” it wrote.

The family further said a time when the family continues to seek healing and justice, it is deeply hurtful and irresponsible for individuals and media platforms to publish or amplify commentary that is speculative, unverified, and prejudicial in nature.

“Such conduct not only undermines the dignity of those affected but also risks interfering with the integrity of an active legal matter.

Our legal team has been informed of this incident, and we are currently in consultation regarding the published article, as well as statements made by individuals across social media platforms in relation to this case. Legal action will be taken against any institution or individual involved.

“We therefore call on members of the media, commentators, and the public to refrain from spreading misinformation or engaging in irresponsible public commentary on a matter that is still before the courts. The Sefoka family remains committed to allowing the legal process to run its course and asks that our privacy, dignity, and right to justice be respected during this deeply painful time,” they wrote.

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Anchored by the focus single “Guqa,” the project arrives not as a collection of songs, but as a deliberate body of work, structured, intentional, and thematically precise.

The release lands at a moment of heightened visibility, building on recognition from the Metro FM Music Awards and her selection as a cover star for Apple Music Africa Now, reinforcing her position within both local and international music conversations.

At its core, Izinja Zam operates as a vibrational statement.

It is concerned with dignity, lineage, and the quiet discipline required to live with purpose.

Across the project, Zee constructs a narrative that begins in surrender and ends in fulfilment, tracing the internal work that precedes outward success.

The title itself signals ownership and identity, grounding the project in both cultural pride and personal conviction.

Where earlier releases introduced her through high-energy, culturally dominant records, the EP turns inward.

The sonic base remains 3-step and Amapiano, but the intent is more precise. The focus shifts from visibility to alignment, with each track forming part of a broader arc that moves from prayer and protection to reflection and arrival.

Opening track “Bawo,” featuring Dlala Thukzin and Sino Msolo, establishes the project’s spiritual foundation. Rooted in Afro-house, it centres faith, protection, and inherited dignity, delivered with restraint and clarity.

At the core sits “Guqa,” with Funky Qla, Dlala Thukzin, and TBO, reframing prayer as strategy. Kneeling becomes an act of strength, not submission, within a cinematic 3-step structure that balances movement with introspection.

“It’s about recognizing that in moments of uncertainty, the most powerful thing you can do is surrender and realign spiritually,” she explains.

“Awe Mah 2.0,” featuring Young Stunna, Blxckie, and K.O alongside Shakes & Les and MK Productions, shifts outward into celebration, capturing youth, success, and earned visibility without losing intention.

Closing track “Ngithathiwe,” produced by Funky Qla and Dlala Thukzin, resolves the narrative. It reflects fulfilment and emotional arrival, turning the EP’s spiritual grounding into a tangible outcome.

Sonically, Izinja Zam is unified by its use of 3-step as a structural backbone, but it avoids uniformity through mood, pacing, and thematic progression. The production across the EP is controlled, cinematic, and purposeful. Nothing feels accidental. Each sonic decision supports the broader narrative, reinforcing the project’s sense of cohesion.

Beyond its musical framework, Izinja Zam marks a shift in positioning. With over 270 million streams and a rapidly expanding international audience, Zee Nxumalo is no longer operating solely within a local context. The EP reflects an artist aware of her global trajectory, but unwilling to dilute the cultural specificity that defines her work. Instead of simplifying her identity for broader reach, she sharpens it, trusting that authenticity translates further than approximation.

“This is a season of growth for me, not just musically, but as an artist and as a brand,” she states.

The timing reinforces that trajectory. A UK press run in May, followed by a major performance at Afro Nation in July, places Izinja Zam within an expanding international framework. The EP does not function as a standalone release. It acts as a foundation for what follows, a marker of intent as much as achievement.

With Izinja Zam, Zee Nxumalo moves beyond momentum and into definition. The project captures an artist refining her voice, tightening her message, and aligning her sound with a clearer sense of purpose. It is measured, cohesive, and deliberate. More importantly, it is positioned to travel, not by abandoning its roots, but by grounding itself firmly within them.

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The revival comes as the original track trends again, introducing his catalogue to a new generation of listeners and reigniting interest in his unique sound.

Speaking about his comeback journey, iFani says the return has been defined by excitement and relief after slowly working his way back into the industry since 2023.

He reflects on stepping away in 2015 following a highly publicised beef with the late AKA, coupled with mental and physical exhaustion, which pushed him to reassess his life and career.

iFani also notes that tensions around his second album, which he says was pushed on him by Sony, contributed to the challenges that preceded his hiatus, with much of the strain only becoming clear after its release.

“In 2015 there was the beef with the late AKA coupled with my exhaustion mentally and physically. All that added to me wanting to take a break and re-assess myself,” iFani says.

During his time away, his perspective on music, fame and purpose shifted significantly. He focused on family life, simple joys, and personal growth, stepping back from the industry while finding peace away from the spotlight.

“Coming back into the music space has been a deeply humbling experience. I’m grateful for the love and support from fans who have stayed with me and those who are only discovering my journey now,” he says.

Seeing Shake trend again has been both heartwarming and exciting for iFani, who says it is especially meaningful as fans who once watched him perform at kids’ shows have now grown and continue to remember his work.

iFani believes the resurgence speaks to the timelessness of his sound, which he describes as deliberately unique and outside of trends. He explains that his artistic identity has always been about originality, from blending isiXhosa into rap to creating music for diverse audiences including children and elders.

He adds that his mission has long been to keep isiXhosa alive and engaging for younger generations, despite acknowledging both successes and failures along the way. He returns as a new signee at the label, Asanda Empires.

“This new chapter with Asanda Empires is about growth, purpose, and pushing my artistry further than ever before. There’s a lot of new music and creative work on the way, and I’m excited to share it with the world.”

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Former Mzansi Magic’s Umkhokha: The Curvy Actress Mbaliyezwe Ngiba has shared controversial details of how she was bullied by a senior actor in the now defunct drama series.

Mbali who played the role of Zodwa shared the news during her interview with on Engineer Your Life Podcaster Lungelo KM in an episode that will be aired on Friday.

She said there’s no one who was bvllied by her Co actors like her, she details how after work she would sit in her car and just cry thinking of the treatment she’s getting.

“You know you get actors who will bully on set. I was bullied from that whilst it started until the end. I was bullied until it ended. It was really bad. It was really every single day. I would get home , park the car and cry. In the morning I have to wake up and go to work and smile. You do get those actors, that says she can’t act, she’s coming with Real Housewives tendencies. That time you can’t explain to them that you don’t like what they think you have,” she said.

Mbali further said she will find prominent actors having good relationships with people in higher places from the production and badmouthing her.

“If you only knew, I don’t like it. You get to work with people who know superiors and they will say bad things about you and the channel will be like we can’t work with person like you anymore, she will cause drama, she can’t work with other people. Because they are hearing what they are being told. They are not sitting you down and saying what happened so they can hear your side of the story and understand what happened and hear both sides of the story. There isn’t someone who has been hurt on set more than me,” she said.

Mbali is not new to controversy as during her time with the The Real Housewives of Durban, she trended for bullying a security guard and later apologized after a video showed her shouting at Hotel Skye in Sandton.

In the video, she criticized the guard’s low salary and education, saying “you do not even have matric” and “you are sleeping here because of us”.

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The former Etv Scandal, SABC Muvhango, Imbewu and Generations actress also said she dismissed allegations that she unfairly dismissed Ngcubashe.

This comes Ngcabashe dropped a series of social media post claiming that Mbane who took him from the Eastern Cape, brought him to Gauteng and gave him the job accused Mbane of owing him money.

On Thursday evening finally responded to the allegations labelled against her.

“It has come to my attention that, over the past few months, Mr. Lunga Ngcabashe has taken to social media to repeatedly make disparaging and defamatory remarks about me. I have taken some time before addressing this matter publicly because I believe in handling conflict with dignity and fairness. However, the continued harassment, false allegations, and public attacks directed at me by Mr. Lunga Ngcabashe, have now crossed a line that I can no longer ignore.

“Among his assertions are claims that I owe him money for services rendered and that I unfairly dismissed him. I believe it is important to address these allegations on the same platform he has chosen to use, and to set out the facts clearly, Mr. Ngcabashe was employed as my personal assistant for two months from June 2022 until his dismissal at the beginning of August 2022,” she said.

Mbane said Ngcabashe operated from a studio situated on the outside quarters of her private residence, where his responsibilities included overseeing her clothing business, Zazi Zithembe Zithande (ZZZ).

“Initially, he was assigned to assist with my personal family errands too, but after the first month, when there were a few concerns regarding observing clear boundaries, his responsibilities were then confined to only the ZZZ business. During this short period of employment, his conduct, although very eager to serve, fell far below acceptable professional standards. He often acted in ways that overstepped boundaries and invaded my privacy, including areas of my home where my children reside.

“For the sake of brevity, I will not detail every incident. Instead, I will focus on the key issues that were formally addressed during proceedings at the CCMA, where he alleged unfair dismissal and where he did not dispute the following, Mr. Ngcabashe took, without permission, and regularly wore merchandise belonging to ZZZ, despite being expressly instructed not to do so. This conduct constitutes unauthorised use of company property. The CCMA ruled in my favour, recognising that I suffered financial loss, as the items could no longer be sold once used,” she said.

Mbane also claimed that Ngcabashe also attempted to solicit business from her clients which he had introduced him to them.

She further claimed that at some stage, Ngcabashe directed business funds into his personal banking accounts.

“Mr. Ngcabashe stored his personal camera equipment which appeared to be of high value, inside my private residence which is not linked in anyway to the outside studio where he worked—specifically in a room designated for my exclusive use – without permission and without my knowledge. His designated workspace was clearly separate from my home. I was shocked when I found it, to learn that in my personal space, without my knowledge, expensive equipment was secretly stored, which I would not have been able to account for had there been an issue or anything untoward,” she said.

She said Ngcabashe was the one who took the matter to CCMA for resolution but it ruled in her favour.

“I resorted to blocking him from contacting me when he continued to contact me for months thereafter, declaring his love for me and how much he missed me and calling my children wanting to connect with them. This was merely to protect my space and my privacy following an unpleasant experience.

“I will not be personally engaging further on this matter as I would rather invest my energies elsewhere. I felt it was important to bring the facts forward to show respect to my associates, clients, supporters and everyone else that I hold in high regard. While I would prefer not to escalate this matter further, I will not hesitate to pursue appropriate legal remedies should the harassment and defamatory statements continue,” she said.

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Blending hip-hop bounce with infectious African rhythms, Coupé delivers a confident, celebratory sound rooted in lifestyle, motion, and elevation.

The title itself “Coupé”, symbolizes speed, success, and flex culture, capturing the essence of a generation that moves fast, lives boldly, and celebrates wins unapologetically.

With its infectious energy and undeniable replay value, Coupé is positioned to become a club staple and a social media driver, reinforcing BabyDaiz’s ability to create music that lives both on the streets and online.

Speaking on the release, BabyDaiz shares:

“Coupé is about energy, movement, and elevation. It’s that feeling of stepping into your moment, owning your space, and celebrating how far you’ve come. I wanted to create something that people don’t just listen to, they feel and move to.”

He adds that at its core, the record carries a simple but powerful message: “The confidence and staying on the move, never still.”

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