Rising Trap Queen: Baby Girls’ Day Is Redefining South African Hip-Hop

 

Rising Trap Queen: Baby Girls’ Day Is Redefining South African Hip-Hop

by Khanyiswa Mdladlamba

At just 22 years old, Johannesburg-born trap artist Baby Girls’ Day is carving out a bold space for herself in the South African and international music scenes. Known as the “First Lady of Empty Records” and proudly embracing the title of “Trap Queen,” she represents a new generation of female artists reshaping hip-hop with authenticity, versatility, and purpose.

Hailing from Johannesburg, Baby Girls’ Day began her musical journey at the age of 14. While many teenagers were still discovering their interests, she was already recording and releasing projects. With the unwavering support of her mother, she transitioned to homeschooling during high school to fully commit to her artistry while maintaining her education.

Her foundation in music runs deep. Trained in multiple instruments — including drums, bass guitar, piano, violin, and marimba — as well as vocal coaching across genres, she developed a well-rounded musicianship that now underpins her signature trap sound.

Although she experimented with various genres such as Amapiano, Afrobeat, R&B, and house, trap music ultimately resonated most deeply with her. More than just a stylistic choice, trap became a form of emotional expression and resilience during challenging periods in her life.

Over time, particularly after collaborating closely with her producer Dini, her sound matured and solidified. Where she once leaned more toward traditional rap, she now confidently embraces trap as her artistic home — a space where her vocal training, storytelling, and energy converge.

One of Baby Girls’ Day’s most powerful recent projects is Matriaki, her first release under Empty Records. Rather than centering the album solely on her own experiences, she took a collaborative and research-driven approach.

She engaged with women across South Africa to understand their realities, concerns, and aspirations. The result was a fully female collaborative project that amplifies women’s voices and perspectives within a male-dominated trap scene.

Matriaki addresses themes of empowerment, competition among women, resilience, and unity. By allowing each featured artist to choose topics they felt personally connected to, she fostered a creative environment rooted in authenticity and shared strength.

In an industry where female rappers often face stereotypes and heightened competition, Baby Girls’ Day advocates for collaboration over rivalry. Her message is clear: women are stronger when they work together.

Being signed to Empty Records has marked a significant turning point in her career. Through mentorship, touring experience, and exposure to larger platforms, she has refined both her artistry and brand.

The partnership has allowed her to expand her reach while maintaining creative control. More importantly, it has strengthened her ability to use her platform to uplift other women — reflecting the same opportunity she was given.

Baby Girls’ Day shows no signs of slowing down. She is preparing to release a new single, Manjit, featuring her label head, marking her first venture into the Venec sound. The track will be accompanied by visuals, further elevating her international appeal.

In addition, she is working on an upcoming EP titled A to the A, aimed at bridging South African talent with global audiences. The project seeks to demonstrate how South African artists not only fit into international soundscapes but excel within them.

A collaborative Empty Records mixtape is also in development, promising more dynamic releases in the near future.

At the heart of Baby Girls’ Day’s brand is a message of self-worth and empowerment. She encourages her audience especially young women  to recognize their value, pursue their visions relentlessly, and remain unapologetically authentic.

Her journey from a determined 14 year-old musician in Johannesburg to an internationally recognized trap artist is a testament to discipline, passion, and purpose.

As she continues to break boundaries and elevate voices, one thing is certain: Baby Girls’ Day is not just participating in the trap movement she is shaping it.