Lilongwe producer Crack Mapiri, who helped shape some of late Martse’s most beloved songs, is speaking out, with rapper Evanz Muzik at the center of the controversy.
In a fiery Facebook post published Thursday, Mapiri came out swinging, weaponising a Gwamba bar from “Mmesa” to set the tone: “After years I now understand Gwamba’s line in Mmesa ‘Anthu zikawakanika amangoyamba ku hater.” Translation, roughly: when people flop, they reach for hate like a drowning man grabs a rope.
His target was clear: Evanz Muzik, the defiant and unfiltered commentator who recently tore into Eli Njuchi’s newly released album “Maga” while loudly praising Saint’s “Saintrified” project.
Mapiri, never one to mince words, branded Evanz a flopped hip hop artist and tagged him directly, accusing him of building an entire career on indirect smoke.
“No hit in years. No show bookings. No fanbase growth. Just Facebook posts filled with hate, subliminal bars, and songs dedicated to people who are actually winning,” Mapiri fired, attaching the link to Evanz’s freshly dropped single “Ngati Yakukwana.”
He then dared Evanz to drop the veil: “Stop hiding behind ‘indirect.’ If you want smoke, come direct. Otherwise go to the studio and learn how to make music people actually want to listen to. Your career died, but your jealousy is still alive. That’s crazy.”
If Mapiri thought the jab would land unanswered, he misread the room.
Evanz clapped back with receipts: an August 2026 screenshot showing Mapiri himself being called out for allegedly begging for an opportunity to work at Evanz’s studio in Likuni, Lilongwe a deal that reportedly never materialised.
The caption was a single, surgical word: “Fufutanso,” meaning “delete again.”
Not one to retreat, Mapiri owned the screenshot instead of running from it.
“I should say that I have been broke lately yeah….I saw an advantage seeing that u have money now….I needed money, I never expected that I might learn, or perfect my craft working with you,” he replied, turning an embarrassment into a confession of hunger.
The comment section split down the middle, though the loudest camp rallied against Mapiri, proof that in Malawi’s entertainment circles, loyalty shifts as fast as a chord change.
Beneath the back and forth lies a bigger story: Facebook has quietly become Malawi’s entertainment courtroom, where artists play judge, jury and executioner in real time, and where every post is a hearing, every comment a verdict.
As the old saying goes, when two elephants fight, it is the grass that suffers, and right now, the grass is the fanbase watching from the sidelines.