Dyana Cods, the Rong Rende rapper, released an album in 2022, shattering norms for Kenyan female artists. Welcome to the Dyana Cods’ “Thank Me Later” review.

Besides Nonini’s We Kamu,” only two Kenyan tracks left me stunned: Munga Domani’s Mungu 3,” a six-minute punchline barrage, and Walanguzi‘s Napenda Vaseline,” boldly embracing vulgarity over Rick Ross’ “Hustlin” beat while maintaining surprising sweetness.

Internationally, it rivals Cardi B’s WAP in unabashed raunchiness, but Dyana Cods takes it further, delivering an entire album of unfiltered lyrics with remarkable ease.

Deconstructing Dyana Cods’ “Thank Me Later”

Dyana Cods marked her presence at Homeboyz Radio Trap Lab, debuting on Corine Onyango‘s show after featuring on Morio Azenza with Wakadinali.

Her freestyle stole the spotlight, prompting Scar Mkadinali to alert other Kenyan female rappers.

Dyana Cod’s undeniable ability sets her apart in a hip-hop scene where the crown circulates. Unlike Femi One, who shifted from a hardcore tomboy rapper to a Barbie doll persona, compromising her style for record sales, Dyana Cod stays authentic, securing her spot at the top of Kenyan hip-hop.


Dyana Cods opens the album with “Ririma,” diving straight into explicit waters. She raps, “Juu ya mjulubeng me geek. Me humpea ka hobby na-make sure amemoan na sheng ka odi.” She blends naughty with divine as she invokes God with the phrase “si unajua Sir Jah ukuwa my guy,” a move oddly reminiscent of pornstars thanking God at the AVN Awards podium for explicit category awards. It’s a strange touch that leaves you questioning life choices.


In Foreign,” featuring Buruklyn Boyz of MRRIGHT and Ajay, Dyana’s collaborators bring their braggadocios style to the mix. While they showcase their A-game, Dyana stands out, addressing the Kenya Police with a sexy twist. She spits, “me ndo ule denge mgenje naseti njaga na manjege hata ka wako kinenge sitoi ganji kwa kibenje.”

But she doesn’t stop there. She adds, “Ka poko wa Koch usponikanja natoaga zogo,” offering a gritty view into the violent behavior exhibited by Kenyan ghetto prostitutes.

As we continue this Dyana Cods’ “Thank Me Later” review, her fearless lyrics go beyond the surface and dig into the complexities of street life, vividly painting pictures with each line.

Bad Girl Riri

“Bad Girl Riri” turns toward street violence, influenced by Wakadinali’s style. While it might not be the hardest track, Dyana’s authenticity shines through in lines like “niko ithaa ya movie Netflix n chill no ngwati msee.” It’s a raw expression that hints at a deep understanding of adult content, suggesting Dyana’s familiarity with the genre. Adding to the intrigue, she cleverly censors her lyrics in the last verse, leaving listeners to wonder what mischief she’s up to.

She boldly brags, “hawajaget hiyo shit hawajaget hiyo shit.” This move recalls the days of Nonini’s classic track, “Keroro,” where an elusive, censored intro left fans guessing. Dyana Cods, following in the footsteps of such predecessors, demonstrates her mastery in the art of suggestion, leaving her listeners craving more of her daring narratives.

Huddah Monroe

“Huddah Monroe” stands out with its top-notch production. It incorporates elements reminiscent of producer Timbaland vibes, notably showcased through a captivating flute melody.

Dyana confidently claims her throne on this track, cheekily referring to other females MCs as Mapoko,” a Swahili Sheng term for prostitutes.

She cleverly uses Munga Domani’s lines to add an extra layer. The song captivates with its lyricism and underscores Dyana Cods’ ability to blend homage, cheekiness, and a strong assertion of her dominance into one riveting narrative.

In the broader context, “Huddah Monroe” forms a vital part of the unique elements explored in Dyana Cods’ ‘Thank Me Later’ Review.

My Time

In “My Time,” Dyana Cods envisions a significant milestone for a Kenyan rapper – being painted on a matatu. With lyrics like “kitu imebakia ni nichorwe kwa nganya,” Dyana expresses a heartfelt aspiration. It’s a pinnacle achievement in Kenyan hip-hop, symbolizing recognition and respect from the streets.

Dyana’s dreams reflect personal ambition and the broader cultural significance of matatu art in the Kenyan hip-hop scene.

Her hard work speaks volumes, and she’s rightfully earned her place in the industry, making her matatu dream a plausible reality in her journey.

Billie Jean

Dyana Cods’ ‘Thank Me Later’ review reveals that she doesn’t need affirmative action; she’s proven herself in the trenches, competing with the illest male rappers.

In Billie Jean,” she asserts her dominance with the line “wanadai kuwa bad ka Cods but fuck, mimi ni queen hao ni mboch.” Dyana Cods also showcases a fearless approach in addressing men as she boldly declares, “You can’t get me, my brother. I’m in the same league as your mother; in a wolf pack, I’m the alpha brother. Next time, address me as your father… akuna kitu unaeza nishow nawapeleka peleka adi washindwe kuwithdraw… kwa hii story me ndio puppeteer venye me hutake control ka puppet buddah usijaribu kunikatia juu ndakumanipulate ka target.”

Dyana Cod’s ability to flip the script, addressing men with the same assertiveness often used by male rappers when talking about women, further solidifies her as the best in the game.

Tinder Swindler

Dyana Cods’ album takes a dip with Tinder Swindler,’” featuring two strong rappers, Munga Domani and Sewersydaa.

As cool as it may sound, one can’t help but wish for Dyana to go solo on this track to preserve the album’s tone.

If a collaboration with one of the Wakadinali brothers was a must, Scar would’ve been a perfect fit.

He’s blessed with an apolitical tone variation and an exceptional ability to read the room. While Tinder Swindler” brings together formidable talents, it falls short of enhancing the overall message and impact of the album.

“Miss Manyuria”

However, Dyana Cods swiftly rebounds with “Miss Manyuria,” a collaboration with Groovy Jo that leaves no room for subtlety.

She throws immediate shades at men with lines like “I got a million billion reasons I would better play a nigga then I leave him dead.”

The drill beat choice for this song serves as a perfect backdrop, emphasizing the raw, unfiltered lyrics. The track reaches its pinnacle when it goes silent, creating a moment to echo the song’s standout line, “Lolo inalambwa ka sauce ya Galitos.” Galitos should stop pretending that Dyana Cods didn’t acknowledge the sweetness of their sauces.

While Groovy Jo comes in strong, with a promising voice, she doesn’t quite match Dyana Cods’ grittiness. Though, listening to Groovy Jo’s explicit verses in the song “Feelin’ It” from her 2021 Groovy Way Album where she raps “All these rappers they be rappin’, and I ain’t feelin’ it; a few inches got me wondering is it in yet,” while dissing fellow rappers whose songs she can’t seem to ride with, indicates a bright future in Kenyan Hip-hop music.

Analyzing “Mans Like,” “Taliban,” and “Roesa Nyoro”

As the album progresses, tracks like “Mans Like,” “Taliban,” and “Roesa Nyoro” come across as filler, contributing to a sense of regression.

It prompts me to question whether the album, standing at 50 minutes and 10 seconds, should have exceeded the half-hour mark. “U Guy my Guy,” in particular, adds to this regression, somewhat dampening the impact of what was shaping up to be a hit album until that point.

However, it’s essential to note that these songs possess the quality that could shine on another album.


The final track, “Nditni,” brings the album to a satisfying close, exuding strong Sewersydaa vibes, particularly in the hook. Confirming this connection, Dyana references ‘Wada,’ the title of Sewersydaa’s album, and “Extremist,” one of the songs from that album, with the lyrics, “extremist ka Sewersydaa.”

Despite Dyana’s claim of leaving hip-hop for Drill (a subgenre with sound similarities to trap music and lyrical resemblances to gangsta rap), she undeniably remains rooted in hip-hop.

In “Nditni,” her standout line, “nakunywa adi dem ivo ndo chali alitokwa,” exposes Dyana’s unapologetic style that consistently shows no mercy to men. 

Bottom Line

Dyana Cods continues to make waves in 2023, marked by her performances and an unexpected collaboration with Genge artist Mejja in the track “Wivu.”

While not Mejja’s standout work, Cods contributes with her sexually charged lines and visuals that complement the song, keeping her presence intact in Kenyan hip-hop music.

Feel free to share your thoughts on Dyana Cods’ ‘Thank Me Later’ review in the comments below.

The album is evidence of her unapologetic self-expression.

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