The Brothahood
Gig Seeker Pro

The Brothahood

Melbourne, Victoria, Australia | Established. Jan 01, 2006 | SELF

Melbourne, Victoria, Australia | SELF
Established on Jan, 2006
Band Hip Hop R&B




"SHOWBIZ: Stay positive with The Brothahood"

For these boys from Melbourne, hip hop is their vehicle to clear misconceptions about Islam and voice concerns about social issues, writes Faisal Asyraf
HIP-HOP is not always about glamorising a hedonistic lifestyle with fancy cars, bling and sexy women being part of the mix. Just ask members of the Melbourne-based hip hop group, The Brothahood.
Its members Jehad, Hesham, Timur and Moustafa use the poetic beauty of hip hop music to promote social justice and unity, motivate people to pursue their dreams, and touch on social issues like domestic violence. They call the music genre “positive hip hop”.
The group was formed in Melbourne eight years ago with a noble mission. “We got together to break down stereotypes and misconceptions that people have towards Muslims and Islam, as well as telling listeners about the beauty of that religion,” explains Jehad.
The response was overwhelming and soon enough, the good messages of their music spread all over the country. Consequently, The Brothahood’s current tour in Southeast Asia, which began in 2010, received full support from the country’s Department of Foreign Affairs and Trade.
The group’s debut album The Lyrics of Mass Construction was released in 2008.
Jehad says the band caught a lot of hip hop enthusiasts by surprise when they heard their music ... “it is not like any other conventional hip hop. Soon enough, we managed to get the listeners to follow our journey.”
In 2010, The Brothahood toured Indonesia and performed in Bali, Denpasar, Seminyak, Jakarta, Surabaya and Jogjakarta, and even appeared on the front page of Indonesia’s Jakarta Post.
The following year, they performed at the Kuala Lumpur Convention Centre alongside South African singer Zain Bhikha and the Indonesian-based spiritual music group DEBU. Last year, The Brothahood was featured in the local reality television series Ramadhan di Australia on the TV channel Al Hijrah.
Jehad and Hesham, together with their producer Alexander Williams were in Kuala Lumpur recently to promote the group’s new album, Onus On Us. The tour was made possible by Mahdar Tahir of the Malaysian-based arts initiative Crescent Collective, Australian-Malaysian Institute and Melbourne Culture Art,
“Onus On Us means that it is our responsibility as human beings to live in peace and harmony, to learn about each other and make the world a better place,” explains Jehad.
Its first single O.N.E features local hip hop sensations Altimet and Seveneightsix. Other tracks include Lord Knows (featuring Australia’s soul singer Elena), Revolutionarily (featuring Young Noble), Madinatun Nabi (featuring Aashiq Al-Rasul), Don’t Let Go (featuring Tyson-Amir), Six Articles, and The Dogs Are Out (featuring Flesh-N-Bone), among others.
Jehad, Hesham and Williams share more during the interview at Alternate Plus Gig Hall Bukit Bintang:

When you came out with the concept of spiritual hip hop album in 2008, what kind of challenges did you face?
Jehad: In Australia, some Islamic groups are very conservative. Usually after the performance, a bunch of people would approach us and say, “Brother, music is haram (forbidden). Stop doing it.” But they don’t see the bigger picture. We see hip hop as a form of poetry. Unless we have bad intention that would stray us away from the message of Islam, then it would be appropriate for us to stop.

Do you think your music has changed people much?
Jehad: We never focus on that. One of our objectives is to provide alternative views for the listeners and create an understanding about Islam. We don’t really consider ourselves as teachers. We use music to express our thoughts while giving outsiders insight into living life as a Muslim in Australia.

How did listeners respond to your music?
Jehad: We received a lot of thank you messages and compliments that further inspired us. At one time, we performed at the prison in Melbourne, as part of the prison’s activity for Eid celebration. A few days later, a girl e-mailed us. She said: “My father is in the prison. He was inspired by your music when he saw your performance. He became interested in Islam. All this while, he thought that Islam was all about halal (permissible) and haram. And now he is being open about the teachings of Islam.” That kind of message makes us feel fulfilled. ”

Since the last album, how much has the group grown?
Williams: When The Brothahood started, we relied on the combination of individual strengths. Jehad has a funky rap flow and was influenced by the underground hip hop groups like Black Star and Immortal Technique (United States) and Outlandish (Denmark). Moustafa has the style of early 1990s hardcore rap, Timur is a soulful singer and has the skills for beat boxing, and Hesham is a philosophical musician who draws much of his influence from ‘80s rock bands like Led Zeppelin and ACDC.
It took a while for us to recognise our true strengths and develop the identity of The Brothahood and the messages that we want to deliver to our listeners. With Onus On Us, we have grown musically, and this is evident in our music and lyrics.

Can you tell us more about Onus On Us?
Jehad: Our debut album The Lyrics of Mass Construction was well received, although it specifically talks about Islam. With Onus On Us, we want to reach a wider audience with a more universal theme. Most songs in the album focus on humanity and social issues we face in this world.
Hesham: I would say that Onus On Us is the result of continuous motivation and encouragement from our fans. This album is a more diverse creative outlet compared to the last one.
Williams: I’m a perfectionist. I tend to focus even on the slightest details in the music production. For this album, I made sure that I got what I wanted. If I didn’t, I would punish myself and work hard towards achieving it. I would say that I’m very satisfied with this album, and I’m sure the listeners will be too.

The Lyrics Of Mass Construction was released in 2008. Why wait five years for the second album?
Jehad: Our members were busy with their lives; some got married and others were busy with personal matters. We had to slow down. In 2012, we released a mini album, Mixtape 2.0, just to tell our fans that we were still around.

How did you come to know Altimet?
Jehad: We became fans of Altimet through his music videos but we had never met until our recent collaboration (a performance on Feb 13) at The Talent Lounge in Damansara Perdana. We thought his rap flow was awesome. We then contacted Mahdar from the Crescent Collective to introduce us to Altimet. After exchanging e-mails, we passed him our music sample of the song O.N.E and he recorded his rap parts. We’re proud to finally be performing together on stage.

What’s next?
Jehad: We are now doing the music video for O.N.E. Half of the shoot took place in Malaysia, the other half will be in Australia. We also plan to perform in Singapore because fans have requested for us. We also want to do more touring in Southeast Asia and stay longer in Malaysia.

Follow The Brothahood at Youtube url link:

Read more: SHOWBIZ: Stay positive with The Brothahood - Sunday Life & Times - New Straits Times - New Straits Times

"Old school hip hop meets new world messages"

In a music industry where mainstream rap is dominated by lyrics bragging about drugs and “bling,” finding tunes that are driven by a relevant message is like looking for a four-leaf clover: rigorous and time-consuming. Once found, though, it is unlike any other in a monotonous field where one might as well pass as the next.

Melbourne-based social conscious hip-hop group The Brothahood is just such a clover. Previously featured in Hannah Magar’s “We are Egyptian” as part of Aslan Media’s #Jan25 in 25 Music Videos series, the group features four young and talented rappers- Moustafa, Timur, Hesh and Jehad- who came together in 2006 to “use hip-hop as a tool to smash down stereotypes and misconceptions” while still “maintaining hip-hop’s core essence: taught and intelligent rhythms.” The members’ backgrounds are diverse. Timur is of Turkish descent, Hesh is Burmese, and brothers Moustafa and Jehad come from a Lebanese family. But what brings them together is their love of their religion, their passion for social justice, and the fact that they see themselves just as much Australian as any other person in the land down under.

The Brothahood followed their 2008 debut album, Lyrics of Mass Construction, with their March 3 release of Mixtape 2.0, a musical mash-up that is just as varied as the four men who put it together, featuring solos from acclaimed rappers Flesh n Bone (Bone Thugs n Harmony), Young Noble (2pac’s Outlawz), Tyson (Remarkable Current) and Akil the MC (Jurassic 5). Its beats are smooth while the lyrics are honest, constantly aware of what it means to live in Australia post-September 11th and fully engaged with issues that affect everyday Muslims’ lives: the Arab Spring, attacks on Palestine, refugees of dictatorships, and what it means to stand proud for a faith that is so often misunderstood in mainstream music and media. Just 24 hours after hitting the Internet, the album amassed more than 200 downloads. One of its tracks, “The Silent Truth,” a testament to the struggles of everyday Muslims’ lives in Australia post-September 11th, topped the JJJ Unearthed Hip Hop Chart in 2007, and still hovers in the chart’s top ten list today.

Aslan Media arts and music editor Safa Samiezade’-Yazd got a chance to chat with group members Jehad and Moustafa over Skype about their socially conscious music, the role of social media for both activists and music artists and why hip-hop continues to flourish amongst Arab and Muslim youth worldwide.

Aslan Media: What motivated you to go into music? What inspired you to start The Brothahood?

Jehad: For me, I’ve always loved hip hop and R&B, and not even just that, also dance music, and our dad listened to a lot of Arabic music, so I think that influenced me to get into it. But I loved hip-hop growing up. I loved the lyrics, I loved the meanings, and I loved the way they used the wordplay and the poetry- it was just really inspiring. I’ve always been playing around with hip hop from a young age, like as a youngster, listening to Snoop Dog and Dr. Dre and all that, [they were] writing lyrics that had no relevance to my life, writing raps about girls and cars and drugs- a life I wasn’t living at all, especially as a 15-year-old kid living in Australia. When I started reading more about Islam, about plight of the refugees, about worldly issues, I started thinking I could probably start writing stuff that’s more relevant. As soon as I started doing that, we formed The Brothahood, and we found we had an audience- people were listening and relating to what we were saying.

We were very involved in the Muslim community growing up, and so they really helped us when we started. They were like a platform to really jump-start us. So we were performing a lot, back in 2003, 2004, mainly in the Muslim communities, a lot of benefit dinners, a lot of protests, a lot of Muslim youth camps, things like that. We were just recording our stuff really shoddily on the computer, uploading it to forums, things like that… After that came YouTube and Facebook and MySpace, and through that, those were really good platforms to get the wide exposure we really needed, so from there, even just off of MySpace and Facebook, we were offered performances in Abu Dhabi, in Malaysia, Indonesia, so social media really played a big part in our success.

AM: Besides the Muslim community involvement that got you started, what’s the significance of Islam in your music?

J: With our music starting off, it had a really big influence, and it still does. We used to call ourselves Muslim Hip Hop, and we don’t use that term anymore because we find it’s a little bit limiting to our audience. Through Muslim Hip Hop, we thought we’d be giving dawa to ourselves, but also too to the youth who are like us growing up, listening to Tupac and Easy E. We thought we’d give them an alternative to listen to, something that’s relevant to them, and us living as Muslims in Australia, it’s a unique viewpoint, and w - Aslan Media

"Hip-hop is not dead"

The eponymous single from Nas’ 2006 album Hip-Hop is Dead solemnly declared the severity hip-hop’s inevitable demise.

Oz melting pot: Timur Bakan (left), Jehad Dabab, Hesham Habibullah and Moustafa Dabab (right), from Australian Muslim rap group The Brothahood perform at Fx mall, Senayan, Jakarta, for the Hip Hop is Harmony in Diversity Tour. The tour was part of the Australian Embassy’s month-long cultural festival OzFest 2010.Oz melting pot: Timur Bakan (left), Jehad Dabab, Hesham Habibullah and Moustafa Dabab (right), from Australian Muslim rap group The Brothahood perform at Fx mall, Senayan, Jakarta, for the Hip Hop is Harmony in Diversity Tour. The tour was part of the Australian Embassy’s month-long cultural festival OzFest 2010.

“Hip-hop just died this morning and she’s dead,” he rasps, almost forlornly against the monotonous drone of an Iron Maiden riff.

Slaves to commercial imperatives as well as their own raging hubris, Nas reckons today’s hip-hop practitioners are too busy hitting Brazilian dimes from behind to care about social issues.

But perhaps Nas’ declaration was a little premature. His grim diagnosis of the genre’s terminal ills may prove accurate in the US, where the highest charting hip-hop artist of recent times is Lil Wayne: a dreadlocked slinger of non-sequiturs, with his most notable rhyming couplet pitting “venereal disease” against a “menstrual bleed”.

In Indonesia, it’s a different ball game. If anything, the genre seems to be thriving, enmeshing elements of traditional melodies and rhythms with rapid-fire repartee.

That’s certainly the assessment from two Australian hip-hop artists — Muslim rap group The Brothahood and DJ Jay Tee from indigenous act The Last Kinection — who have just completed a whirlwind tour of Yogyakarta, Surabaya and Bali before their performances in Jakarta on Oct. 16.

Their performances were part of OzFest, a month-long cultural festival held by the Australian Embassy in Jakarta.

DJ Jay Tee was particularly effusive about the Indonesian hip-hop scene, especially the hip-hop stronghold of Yogyakarta.

“It was amazing”, he says, somewhat awestruck. “I played alongside the Yogya Hip-Hop Foundation, who sampled traditional Indonesian sounds alongside more conventional elements of rap music. The crowd went absolutely mental.”

He adds that what was most exciting was that the language barrier between him and his Indonesian audience did not dampen the level of enthusiasm in the room.

He says his time in Indonesia has inspired him to think outside the square and embrace cultural and sonic differences in hip-hop.

Mainstream Australian hip-hop seems to be afflicted by a sort of institutional malaise where “artists are boxed in by this perception that everyone has to stick to the same sound”, he notes.

“Initially there was pressure to sound American, then to sound distinctively ‘Australian’, which was just as restrictive. One message I’ve taken from my experience here is not only how alive hip-hop is in other cultures, but how it has been adopted and constantly re-interpreted.”

Certainly, one of the most popular criticisms to be leveled at mainstream hip-hop concerns an increasingly monolithic culture; that there is a perceptible shift from diversity and cultural inclusion to circumscribed narratives that prize materialism and sexual conquest.

Nowadays, its socially conscious origins read like a nostalgic narrative, with mainstream hip-hop dominated by a homogenized gangsta culture, the reiteration of racial stereotypes and some pretty hilarious innuendo involving bottles of Cristal. B.G. and the Cash Money Millionaires say it best in this eloquent missive against fiscal martyrdom in their pro-capitalist anthem Bling Bling: “Medallion iced up, Rolex-bezelled up/And my pinky ring is platinum plus”.

Undoubtedly, it is this type of sentiment that is indicative of the genre’s pronounced commercial and generational shift.

Given the increasingly commodified trajectory of mainstream hip-hop, one wonders whether there’s enough space for its geekier, less bombastic brother: Socially conscious hip-hop. So I posed that question to The Brothahood, a Melbourne four-piece consisting of MC Jehad Dabab, Moustafa Dabab, Hesham Habibullah and Timur Bakan. Their response: An emphatic “yes”. “Our lyrics,” says Moustafa, “are our weapon.”

The foursome identify foremost as Australian Muslims and provide a neat portrait of Melbourne’s ethnic diversity, with their backgrounds spanning Egypt, Burma, Turkey and Lebanon.

Their lyrics may be tailored towards the experiences of Muslim youths — they have songs about Ramadan and the emphasis on controlling your inner self — but they insist on the importance of speaking to a diverse audience.

“Basically, we want to break down the stereotypes and barriers we face as Muslims living in Australia,” Hesham says, “but racial slurs, bullying and not fitting in are experiences that non-Muslisms - The Jakarta Post

"Muslim rappers in Australia-funded tour"

They are Australia's newest foreign ambassadors — a Muslim hip-hop group from Melbourne called The Brothahood.

The rap artists were flown to Indonesia earlier this month to "promote cultural diversity" in a two-week multi-city tour funded by the Australian Government.

The Brothahood made several live performances, appeared on prime-time TV and were featured on the front page of the Jakarta Post, the country's largest English-language newspaper.

At home, the five-member rap group use their music to try to change attitudes towards Islam, but in Indonesia they instead found themselves breaking down stereotypes about Australia.

"At first they didn't know what to expect when they saw these white guys on stage," Brothahood member Jehad Dabab told ninemsn.

"Here in Australia we're not even considered white but there we are, and we're up there saying 'asalaam alaikum', and at first I think they thought we were taking the piss.

"A lot of them didn't realise there were even Muslims living in Australia."

Dabab said it was interesting to see how Indonesians had their own stereotypes about Australians.

"They really don't know a lot about Australia at all. I was asked questions like, 'If I go there will I be in danger?'

"Some of them seem to think we have a White Australia policy."

The Brothahood was approached to visit Indonesia by the organisers of the Ubud Writers and Readers Festival, who secured funding for the trip from the Department of Foreign Affairs and Trade.

"The Australian hip hop artists come to Indonesia with important messages about Australia’s cultural diversity and multiculturalism," a statement from the department said.

They were accompanied on the tour by Australian rapper and poet Omar Musa and DJ Jay Tee from Indigenous hip hop group The Last Kinection.

Together they visited Ubud, Surabaya, Yogyakarta and Jakarta, performing at each location.

The Brothahood are performing next in the "Concert for Palestine" at the Maritime Union of Australia Hall in west Melbourne on October 30.

Reported by: Henri Paget - ninemsn

"Creed is good"

When David Batty and Jeni McMahon heard SBS was interested in a series about the day-to-day lives of Australian Muslims, the Melbourne filmmakers hit the road in search of inspiration. But at the end of the journey they realised what they were looking for was a lot closer to home.

"We jumped in the car and drove out to Shepparton in north-western Victoria to check out the Iraqi community there but it just wasn't what we were after," Batty says. "What we really wanted was people who were fully immersed in Australian society but at the same time adhering to their Muslim beliefs."

The two filmmakers were somewhat despondent as they headed back to Brunswick but the feeling didn't last long.

"We'd been doing all of this research and tossing around all these ideas and one day I was thinking about iconic Australian symbols and just started wondering whether there was such a thing as a halal meat pie," Batty says.

"I Googled it and there was this place that made them called Mecca to Medina that was about 100 metres up the road. So I rang them and this guy Houssam answered the phone and I was just struck straight away by what an amazing person he was. We started shooting the next day."

The 32-year-old butcher, a successful businessman and respected member of the Muslim community, became the inspiration for Halal Mate, a series of short documentaries that begins on SBS this Wednesday. It delves into the everyday lives of Australian Muslims, exploring their battles to reconcile the tenets of their faith with life in Australia and their experiences of living in a society that doesn't always accept them.

During the documentaries we are introduced to Afifa, an aspiring soccer player who gives up the game for her faith; the Brothahood, a socially conscious Muslim hip-hop group; the softly spoken Houssam; and Margie, an ex-Irish Catholic whose passion for the Collingwood football club is surpassed only by the zeal with which she takes to Islam.

The stories are fascinating and deeply personal and are shot almost entirely with hand-held cameras, which lends them a raw authenticity.

Batty and McMahon get right in among what is a famously media-shy community while still allowing the characters to tell their own stories. "The whole Muslim community is hurting from the way they've been portrayed in the media," Batty says. "They are really sensitive about anything to do with us. They've created this very hard shell to protect themselves from the things that have been done to them and said about them.

"It was a really difficult nut to crack with the camera - to tell them I'm not like the others, that I'm not planting a secret camera trying to catch them having a cigarette or something."

It took Batty nine months to win the trust of the Brothahood, some of whom reveal during their episode that they have been on the end of racist taunts from non-Muslims. "I just had to tread so carefully, especially with the two brothers in the group," Batty says. "To start off, I just jumped in the car with them - no camera, no sound equipment. The more I hung out with them and the more we became aware of each other's frailties and lives, they realised that I was just a person, too. Eventually I managed to convince them that I was just interested in showing their world to the rest of the world."

Batty and McMahon have become well known for producing documentaries that break down stereotypes surrounding minority groups in Australia, including the highly acclaimed off-beat series Bush Mechanics, Going Bush and Veiled Ambition.

McMahon is adamant, however, that she and Batty are not setting out to change the world. "We're just trying to tell simple stories, whether it's about Muslim people or Aboriginal people or whoever," she says. "When you find the right stories - like Hassoum, Afifa, all of them really - people follow them because they're good stories. That probably does more to break down stereotypes than anything else because people are just feeling for them as people, not as Muslim people."

Halal Mate begins on SBS on Wednesday at 8pm. - The Sydney Morning Herald

"Muslim music for modern times"

A spiritual hip-hop rejects misogyny and violence, but also traditionalism, writes Saeed Saeed.
DEXTEROUS RAPPING, DJ cuts, beat boxing and thumping instrumental tracks - these are not the elements normally
associated with Islamic music. But for the Brothahood, Australia's renowned Muslim hip-hop group, their gritty sonic
landscapes represent a growing global music movement.Muslim hip-hop - notably from America's Native Deen and
Britain's Mecca2Medina - is giving voice to a new generation of Muslim youth turned off by gangster rap's celebration of
misogyny and the conservativeness of traditional Islamic devotional songs called "nasheed". Like all good hip-hop, its
"halal" version is topical and confronting.This is to the dismay of Muslim scholars and hardliners who brand the style of
groups such as the Brothahood a pop-ification of Islam's nasheed tradition; a genre in which spiritual songs are sung in
Arabic a cappella or accompanied by a solitary frame drum.Melbourne's the Brothahood is weary of the ideological
gripes surrounding their craft. But for 24-year-old MC, Jehad Debab, the claim the Brothahood - whose members come
from Lebanese, Egyptian, Turkish and Burmese backgrounds - is another symbol of Western corruption is disingenuous.
Indeed, he proudly agrees he is a product of the West. "I was born and raised here in Australia," he says. "I don't listen to
Arabic songs and I don't speak the language that much. I grew up as a Muslim listening to hip-hop."However, this is
where Jehad's spiritual beliefs come to the fore. "The problem I had was that I couldn't relate to a lot of the hip-hop out
today with all this rapping of violence, girls and drugs. So I started writing about who I was and what I feel as a Muslim
and Australian."The results are socially conscious tracks such as The Silent Truth, in which Jehad Debab and fellow
Brothahood members Moustapha Debab (Jehad's brother), Ahmed Ahmed, Hesham Habibullah and Timur Bardan
describe everyday life in Australia post-September 11 and Cronulla: From beer I refrain / Prayers I maintain/ Can't get on
a plane without copping all the blame/ People can't ya see that we are all the same? / Children of Adam but playing the
blame game.Jehad believes the Brothahood's ultra-Western medium of hip-hop could act as the catalyst to overcome
misunderstanding and ignorance surrounding Islam. "We basically try to break down stereotypes and barriers that we
face as Muslims in Australia."There is a huge gap between Muslims and everyone else. Muslims stick to each other and
non-Muslims are scared of us because of what they see and read in the media."We hope that our music bridges the gap
so that non-Muslims aren't so scared of us and can see us as regular people."South African artist Zain Bhikha has taken
a very different approach to the Brothahood's post-modern take on nasheeds.The pioneering Bhikha, 32, is one of the
first notable nasheed artists to sing in English. His staunchly traditional songs all consist of vocals and minimal
percussion.Such restrictions could produce derivative results but Bhikha is a master of the form. His soul-stirring hymns are built upon dynamic vocal arrangements and carried by his signature crystalline vocals.His deep meditations on
peace, innocence and enlightenment have crossed the religious divide into the mainstream with recent performances in
London's Royal Albert Hall and collaborations with Yusuf Islam, the artist formerly known as Cat Stevens.Bhikha says the
secret to performing nasheeds does not lie in vocal virtuosity. As in all spiritual pursuits, it's the intention that counts. "I've
been lucky enough to keep my day job so that I could perform purely for the love of it. That has made it easy for it to
come from the heart," he says."Many performances of youngsters in the industry today sing with beauty, but lack
inspiration. It is hard to inspire others if you yourself are not by the words you are singing."Sounds of Light is at the Vodafone Arena tonight. Proceeds of the concert go to Human Appeal International. Ticketek 132849. - The Age

"Muslim hip-hop all rapped up"

THERE'S not many emerging bands that would knock back a gig, but Melbourne Muslim hip hop act The Brothahood are picky - on principle.

While other musicians clamour for rock 'n' roll glory at their local pub, the devout boys in The Brothahood don't drink and say the music is about the message.

"We keep away from pubs because it's against what we believe in," MC Moustafa Dabab said.

"We're trying to tell kids to stay away from alcohol and drugs too . . . so we don't want to put our fans in that sort of environment."

The stance has forced the five members to knock back a few gig offers, but it hasn't slowed down success for the suburban boys.

Instead, youth and multicultural events have clamoured to get them on stage - and next weekend the group headlines the Melbourne Muslim Music Festival.

Part of the 2007 Darebin Music Feast, the festival features a wide range of both traditional and contemporary music.

However when it comes to Islamic rap, The Brothahood haven't got a lot of competition.

"At the moment in Australia we've kind of got the market cornered for Muslim hip hop!" Dabab said.
- The Herald Sun


Lyrics of Mass Construction (2008)
Mixtape 2.0 (2012)
ONUS ON US (2014)



The Brothahood use hip-hop as a tool to instil faith into young Muslims who are conflicted with their own identity, they break down stereotypes and misconceptions of Muslims from the Western world as well as bringing positive insights into life through music, regardless of race, gender or creed. They've created a whole new theme to the wider hip hop scene whilst maintaining hip hops core essence: taught and intelligent rhymes and production skills that are sharp and always on point. 

Disillusioned with modern hip-hops celebration of gun play and misogyny, the Brothahood tracks are reflections on real life and on the struggles of real people who are deemed outsiders by their society. 

The results are socially conscious tracks such as Revolutionarily, featuring Young Noble from Tupacs Outlawz. The video alone received over 3000 hits in the first week. Their tracks touch on social issues such as domestic violence, identity and stereotypes.

The group have toured all over Australia, Indonesia, Malaysia, United Kingdom and parts of the Middle East, touching fans with their profound lyrics and hard hitting beats.

Visit for more details

Band Members