Just a few days ago, Saint Mosses teamed up with Young CJ to drop “Gunshot (4 ena 9)”, a raw, in-your-face drill track that sees both artists leaning hard into the dark energy and high-stakes vibe of the genre. The title hints at urgency “4 ena 9” suggesting “for and nine”, like “all in”, and the gunshot motif emphasises the sonic aggression.

Musically, the track rides a skeletal, clipped beat: heavy 808s, snap hats, an echoing vocal sample that gives a haunted, almost cinematic feel. Saint Mosses opens with a cold, clipped delivery, setting the tone of dominance and warning. Young CJ steps in smooth but forthright, layering in a contrasting flow that still hits with the same punch. The interplay between the two voices one gruff and immediate, the other more measured but firm makes for dynamic listening.

Lyrically, they touch on street credibility, loyalty, betrayal, and the cost of realness in a world full of pretenders. There’s no fluff, just sharp imagery: shots fired (metaphorically), vendettas, getting paid, staying true. They’re painting a picture of a scene where only those who can stand the noise survive.

But the impact of “Gunshot (4 ena 9)” goes beyond one song it shows what’s happening in the wider Ethiopian music scene. The industry is shifting. More upcoming artists are popping up with distinct identities: some leaning into drill like, others blending rap with melody like, while a new wave experiments with Afro-fusion, trap, R&B, or even electronic sounds. There’s no single “Ethiopian sound” anymore  it’s becoming a mix of voices, accents, cities, and influences.