Kiprich – People

“People” puts a whole crowd in the frame before Kiprich has even begun to argue his case: neighbours at a gate, spectators in a dance, critics with plenty to say and little patience for silence. It is a fitting space for a deejay whose best work has often turned sharp observation into performance, moving between comic timing, confrontation and more serious social address.

Marlon Plunkett came through Waterhouse as Crazy Kid before making his name as Kiprich, first with “Leggo Di Bwoy” alongside Chino and then as part of Elephant Man’s Alliance orbit. That background matters because his voice was never designed to disappear into a rhythm. The high-pitched, quick-moving Kiprich approach could turn a phrase into a taunt or a punchline; over time he has also adjusted that delivery for newer dancehall and trap-influenced patterns without giving up the bite that marked his early work.

The title reads as a broad address, and Kiprich has form when it comes to talking outward rather than inward. “System Freestyle” put him in a plainly social frame, while “Women Protest” used his platform to confront violence against women. Even when he is working with humour or rivalry, there is usually a sense of somebody speaking to the room, not merely performing for it. “People” carries that instinct in its simplest form: Kiprich facing the crowd, with enough lived dancehall character to make the word feel loaded.