FRATPACKER WORLD.

OPEN YOUR EARS TO SEE IT ALL

They say artists are meant to use their art to reflect the times we are living in and in 2026 we’ve seen and heard more complaints of this not happening then it happening, especially in these trying and dark times we’re living in with a great depression upon us, elections coming up but service delivery on the decline and poverty on the rise, the multiple wars going on, sexual assault, and so many more problems one can list. You’d think with so much going on there would be so many artists would be addressing but sadly that hasn’t been the case, but Tyson Sybateli is the exception and it’s what makes him exceptional.

On the 22^nd of September Tyson Sybateli released his sophomore album Amehlo. It had been 4 years since his debut album Home and fans were excited to hear of the new album coming out. In those 4 years Tyson, just like all of us, has gone through some experiences that has changed and shaped him. One example of this was that he was able to sign a deal with Sony Music and releasing his mixtape Present, which was hosted by The Sobering Podcast, through them in 2024. At the time, majority of South African hip-hop was celebrating as it looked like to be a big win for independent artists; showing that you don’t have to do Tik-Tok trends and dances to be seen and make an impact. Unfortunately, the deal didn’t seem to workout and Tyson ended up leaving the label and deal.

Now, usually when an artist ends up leaving a deal with a major label there’s usually a slew of drama and gossip that follows it. People debating whether it was money related or a battle of ownership of the music etc. and the aftermath is everyone questioning if the artist will be able to recover or still be great after and continue to deliver the quality of music fans expect from them. Well with Tyson there really wasn’t much drama to be found. In fact, the amount of silence coming from Tyson and his team was so loud that fans started becoming concerned about whether he would drop again or if his experience working with a label had killed his passion for the music and the dream.

You can imagine the relief and joy fans felt when Tyson teased his single Company Party in the beginning of the year. In true Tyson Sybateli fashion, the release of the single came with a carefully thought-out and strategized rollout. It first started with images of him in office attire and a name badge that had AMEHLO written on it and an eye icon next to it. It had everyone questioning what Amehlo is and what can we expect. Then he started releasing videos replicating those 90s TV infomercials, telling people they should be joining the Amehlo company and more news will be coming soon. The news that was to come was great news with a single release and announcement of his sophomore album Amehlo to be released later in the year and that’s when everything clicked for his fans and the atmosphere became alive with a heavy buzz of anticipation and excitement. Fan’s hunger for the new album and music was finally fed on the 22^nd of September when the album finally dropped. It’s been a month of Amehlo [Eyes] and after having lived with it for some time now, I’m ready to give my thoughts and opinions on the album.

To start my review, I want to breakdown the album artwork of Amehlo. The first thing I noticed with the album artwork is that it is a direct reflection of the Home album artwork. It carries the same motif of Tyson Sybateli facing us while he’s sitting in this world or environment he has created. The difference with the two album artworks is that Home had a red background with the word ‘HOME’ spray painted on the wall behind him and Tyson Sybateli’s face is censored out. With the Amehlo album artwork Tyson is now sitting with a green background and now there are figures of people who are captured moving around in the back and Tyson’s face is fully exposed. The message I got from these covers is that with Home Tyson had found himself stuck and looking for himself in this music industry.

That’s why the main colour is red to signal a sign of stop or danger, as to say if he carries on, he’ll lose himself. I also believe that’s why his face is censored because he doesn’t know who he is yet within the music industry and is still to find out. Then you get Amehlo where the green background indicates that he is ready to go and has a plan in order. It’s as if to say his eyes has been open and he sees the industry what it’s really for. The people in the back speak to all the work in the background that people don’t see going on, that is needed to make the dream come true. His face is exposed now because he knows who he is and isn’t afraid to take on the industry and challenges head-on. The dress code being office attire shows that he’s about the work and business of the music industry, and instead of being another worker why not his own CEO and boss be.

This was my interpretation of the album artworks and when you relate back to his stint and deal with Sony, I believe it gives it more power because through that deal Tyson’s eyes were open to the workings of the industry. This leads us into the music because honestly speaking I was expecting a lot of angry raps and f*ck the industry narratives, and even though there was some of that, there was more to the album and more powerful messages Tyson had to express. Before we get into the messaging of the music, let’s discuss the sonics. Coming off of Home and Present , I believe everyone was expecting and anticipating a heavy-led hip-hop/rap sonic album but what we got was a very surprising and pleasant mix of a hip-hop/punk-rock mixed bag of beats that blended perfectly together and one or two kwaito tracks here and there with some r&b in the cut as well.

My first impression and thought when hearing the punk-rock blend of the album was, ‘rebellion’, because that’s what hip-hop and punk-rock are known for, and the moment I heard that I knew we were in store for a great album and Tyson would be speaking out on everything with full honesty. To start the album, we have The Program which starts off with a heavy punk-rock feel and chant of, “straight from the top rope.”, then the beat switches into a smooth kwaito influenced r&b instrumental where Tyson comes on singing a hook in Zulu and all of this comes as a delightful surprise, as it shows the growth and musicality of Tyson. Then Tyson comes on rapping about how the South African government has let the country down, political agendas, covid and having to be a role model for all the kids looking to be free and independent.

The next song, Stone Cold, is more a trap inspired track featuring Thato Saul so immediately I was expecting a banger with nasty raps and flows, which is exactly what we got. Thato Saul executes his verse perfectly and has you vibing, even if you don’t understand or speak S’Pitori [South African vernacular slang.]. It is followed by the album single, Company Party, a punk-rock flavour fest of a song. The song talks about how Tyson is realising that the industry is basically like working at a company and everyone has their role to play, being good or bad. In this Tyson understands that he now must use his discernment and judgement to see who really is here for him and who is just here to party and live in the hype and flashing lights. Not everyone is here to work, some are just here to live off the work you do by association and use it for their own benefit.

Next, we have one of my favourites on the album, Humour Me ft Filah Lah Lah, so you know it has the r&b soul and sonics all over it. “God bless everybody but start with me.”, this is how Tyson starts the verse and it hits because I believe we all know the feeling of wishing the best for people but still wanting to have the best for yourself in this life because who doesn’t. Tyson uses this as a moment for himself and to reflect and introspect on his own growth from friends, women, relationships and the perception of him by others. The chorus states this when Filah Lah Lah sings, and so beautifully I should add, “Everybody’s calling me, wondering where the hell, I’ve been, wondering who’s around me, who can ground me through duality I see nobody and I be lying like a mug, I’m so private, my circle smaller, every year be so quiet, baby, did you get the message? My presence is a blessing never really was a question, I’m sorry.,” you can hear that Tyson is referring to the time he spent away after the deal with Sony and how he had to take time to give back to himself instead of being what people wanted and needed from him at the time.

On the next song, Picture This ft Tron Pyre, Tyson keeps on with the r&b vibe and speaks on how he would love a picture-perfect love but the issues that come with dating in the industry and the ups and downs that come as an artist, even the love from family becomes different once you start making it. Tyson gets back to the trap meets punk-rock feel with Two. “Drug dealer with a Tik-Tok page. Dope ain’t selling itself these days.,” another opening bar from Tyson that shows how people value the internet and optics of things instead of being involved. This is the motif throughout the song in which Tyson criticises how fans and people are always online talking, complaining, or giving their opinion on topics but in real life you do not see them active or involved. It speaks on how the system and industry is trying to dumb us down and where or focus is as a society.

We carry-on with the punk-rock feel with Green Room (Banged Down) which focuses on how things get dressed up and disguised as rumours but the more we investigate and look into them we see how fake they are and that we should be dismissive of what seems to be glitter and gold. Next is my favourite song on the album and I just recently found out that there are two different versions of it, an Apple Music one and a Spotify one. Advertisements is my favourite song on the album because Tyson directly talks about how the government, society and the systems in place are killing and poisoning us but because we’ve been sold this dream of what life should be, the characters we have to play and portray and to make it in the system there are certain things we need to do and behaviours we need to have but it’s all false advertising and we are being sold a lie why they buy our souls, morals and principles.

Green Room is followed by Cheers, a chilled kwaito track which slows down the album and brings everything to a relax chillas vibe. It’s almost as if Tyson is trying to say who cares about everything he’s just spoken on with the previous songs when all we want to do is chill with our mates, wear the finest clothes, eat at the expensive restaurants and enjoy the best of alcohol. It is the life we all want and if we can live it, what else even matters? This brings us to Teflon Cards, another favourite of mine. This reminds me of Home Tyson, soulful hip-hop beats with dope lyricism. The song speaks on how through all the challenges Tyson is still here and will make it out of any situation no matter the cards he dealt because he is tough as Teflon and the challenges do not stick.

Property ft Buzzi Lee, comes on next and we get back to the trapping vibes. Funny that both rap features come from Pretoria and known for their trap sounds. This track for me is on there to give a moment of fun and cleanse the palate a bit. Buzzi Lee goes off on her verse with the flow and with Tyson writing the verse for her, everything ties in together seamlessly. The next track Analogue ft Marcus Harvey is the only feature that is not from Pretoria and feels like a sequel to the track House ft Amara Fleur & Marcus Harvey off Home. This time instead of the love vibes Tyson focuses on getting back to getting the bag and making his success come true. He has seen the flashing lights, the women, celebrities, and parties. They do not last but the money does. Primo even comes at the end with a skit and monologue for the fans.

The second last song on the project, New Man, brings us back to the punk-rock fusion and Tyson speaking on his background and upcoming from a disadvantage environment where hustling and surviving was the culture and know that he’s grown he can see and appreciate how much life has changed and shaped him. While people are out here trying to be successful for the fame and rewards, Tyson is here trying to change lives and not just his own and the people around him but everyone else but trying to open their eyes to everything that is happening around us. He is a new man with a new mission.

Tyson Sybateli closes the album off with No More Parties, which speaks on the South African government and all the parties in parliament and how they are failing us as citizens and the youth. Gambling is running rampant, service delivery is poor, education and literacy is on the decline, unemployment keeps rising, kids are stealing to survive and getting arrested but corrupt government officials get caught and face no consequences, domestic violence and sexual assault has become a crisis and through all this all these parties are just pointing the finger blaming and shaming each other but no party is doing anything for the people. It is a call for the people to rise and govern and not look toward these parties for our survival and freedom.

Overall Amehlo reflects being a youth in South Africa in 2026 and how it has affected us. It is a time capsule of the times but also a message in a bottle for the future and the present to stand-up and fight but most importantly to open your eyes and see everything that is happening in front of you and behind closed doors. For me I would give Amehlo a 10/10. I feel the execution, the messaging, instrumental, lyricism, sonics, production and everything was executed exactly how Tyson Sybateli intended and it is received as such. There are no notes or criticism that I could add to try and make this album better. This is an album that all South Africans need to hear and take in. Real artists are not dead and we as the people have the power to change the world we live in.