"I campaigned for Ousmane Sonko": Rapper PPS the Writah's unfiltered confessions

A key figure in Senegalese rap and three-time winner of the Best Lyricist award, PPS the Writah speaks candidly in this interview with Seneweb. From his humble beginnings to his international acclaim, the rapper and graffiti artist discusses his writing process, the taboos surrounding his art, his political activism alongside Ousmane Sonko, and his role as a mentor to young people through SKM La Fabrik. The artist is also preparing to celebrate the 15th anniversary of his first solo project, X-Tape, with a free concert scheduled for November 14th.

You have a very beautiful writing style. How do you construct your lyrics: do you write on paper, in your notes, or directly in your head while listening to the instrumental?

At the beginning of my career, I would first write the lyrics, then try to find a suitable instrumental track or have one composed if I could afford it. With experience, I've come to understand the importance of melody and learned to write directly to the music. As for the medium, I write everywhere: on paper, in my phone's notes app, or sometimes from memory, depending on the inspiration of the moment.

Are you looking for a melody or a flow first, or does the message come first?

Melody is the most captivating element in the structure of a song, but in my creative process, it comes to serve the message, which remains the priority.

Which track in your discography was the most difficult to finalize?

Diw!, track 7 from the album Xaatim ak Kallama. This song took at least two years to create, between New York and Rufisque. Its production required so much energy and resources that we weren't even able to make a music video.

What is the worst advice you were given at the very beginning of your career?

That a rapper should absolutely not sing about love ("rapper of the way mbëggeel").

What is your best memory related to a concert or a studio recording?

I've been fortunate enough to perform on countless stages in Senegal and around the world, but my performance at the L'Boulevard Festival in Casablanca in 2015 remains the most memorable. Over 30,000 people, an electric atmosphere, and a wonderful encounter with Youssoupha.

In your opinion, what makes the difference between a good, short-lived title and a timeless classic?

A good track generates buzz and immediate opportunities. A classic, on the other hand, stands the test of time and becomes a lasting part of popular culture.

How do you manage the contrast between intimate creation (alone at home or in the studio) and public exposure on social media?

The studio and the stage are the artist's natural habitats. Today, an artist must also transform into a content creator to thrive, which can be challenging, especially for our generation (Millennials). But it's a reality of the industry; you have to adapt without losing your soul.

If there is one artist, Senegalese or international, with whom you would absolutely love to collaborate in the near future, who would it be?

I had the immense honor of realizing my dream by collaborating with the legend Baaba Maal. Now, the logical next step, my wish would be to share a track with Youssou N'Dour.

If you had one last album to listen to, which would it be?

Boomerang by Daara J.

One last song to listen to?

What a Wonderful World by Louis Armstrong.

Is there a song that sparked something in you and made you want to become a rapper? If so, which one?

Boul Falé of Positive Black Soul.

How does it feel to be compared to Youssoupha? Is it a validation of your talent, or does it push you to redouble your efforts?

I've never been one for comparisons. In my early days, I was compared to Keyti, then to Youssoupha, two artists I greatly admire and respect. This comparison likely stems from the rigor we bring to our writing and our shared desire to deeply enrich hip-hop culture.

You were awarded the title of best lyricist in 2019, 2020 and 2021. How should an artist receive this kind of distinction?

With great honor and humility, because Senegal is full of exceptional writers. I had already won the Best Album award in 2015 and Best Featured Artist award in 2016, but being named Best Lyricist three years in a row remains one of my greatest sources of pride.

Have these distinctions reinforced, changed, or improved your writing style?

It's a nice encouragement that's always appreciated, but it doesn't change my direction. I know exactly who I am artistically, and my writing method is already well established.

Do your themes evolve according to daily challenges? For example, could a romantic disappointment shape the theme of your next work?

My writing reflects my daily life, my joys, my sorrows, and my surroundings. A heartbreak could easily be the subject of a storytelling piece, but it wouldn't be my personal story, because I'm married to a queen, Mashallah.

Graffiti and rap have a close relationship. How does yours influence your music and vice versa?

I first became known as a graffiti artist, notably as a founding member of the Amoniak collective. In fact, it was the murals and graffiti contracts that financed my graphic design studies after my years at UCAD. Even though I no longer actively practice on a daily basis, I maintain that spirit: I will always be an activist for hip-hop culture.

You rapped from 1993 to 2011 before being revealed to the general public. What message of encouragement do you have for young artists who are struggling to make it?

An artistic career isn't a sprint, it's a marathon. Your only real competitor is yourself. Believe in your dreams and be prepared to put in the necessary effort to achieve them. With willpower, hard work, and self-compassion, perseverance always pays off.

What do you think of rappers who also work in mbalax? Is it versatility or a distortion of rap?

Let's clear up the ambiguity: rap is a form of spoken expression, what is delivered, while the music that accompanies it can draw on all kinds of sounds, from classic boom-bap to drill, including mbalax and rambax. Senegalese rap benefits from embracing our own cultural and musical traditions.

How has rap revolutionized Senegalese culture?

Senegalese hip-hop revolutionized Senegalese culture on all levels: from audio production (via computer-assisted music) to video production, thanks to pioneers like Gelongal and Iris AV. Today, mbalax artists have adopted our dress codes, our slang, and often use our ghostwriters and beatmakers, not to mention the decisive impetus that hip-hop gave to the digitalization of Senegalese music.

You said you campaigned for Ousmane Sonko. Are you disappointed with the current situation in the country and what is your view on the political developments?

Many of us may have felt disappointed by the current tensions and divisions, as the Senegalese people have paid a heavy price for change. But despite the very difficult conditions at present, we must not lose heart: the struggle for a sovereign, just, and prosperous Senegal is a long-term process that has only just begun.

Please explain how the training programs you offer to support young talent are structured.

Through Sunu Kaddu (Arts & Community), an organization created in 2014, we use cultural and creative industries (CCIs) as levers for social transformation. Our actions revolve around events (La Loge des Poètes, Rio Fresco Fest, etc.), training (writing workshops, cultural project management, audiovisual production), social and environmental engagement (Handischool Day, Ñoo Far School Art Contest, Clean Hop Challenge), as well as infrastructural support with the opening of the 360° creative hub SKM La Fabrik, equipped with a recording studio and a coworking space open to young people.

Tell us about your upcoming retro concert

This will be a great moment of unity and celebration for an entire generation (2007–2012). It's a free concert offered to the Senegalese rap community, in partnership with Place des Cultures Urbaines and the Impact Sénégal association. On Saturday, November 14th, X-Tape (my very first solo project) will celebrate its 15th anniversary, and we invite all of Senegal to come celebrate this historic milestone with us at Place des Cultures Urbaines (Patte d'Oie).