Haiyti has won the ECHO, wrapped the feuilleton around her fingers, collected hundreds of millions of streams and released even more projects. Yet she doesn't even have access to Spotify for Artists. The old rules, the old certainties, they no longer apply. It's a new era. And King Haiyti I is writing her own rules. The supposed boundaries between street and avant-garde, underground and pop: Haiyti has torn them down. As a lone fighter in the uber-macho business of German rap. And as an exceptional artist in her very own universe. She has made hard-hitting trap, sugar-sweet street hits, hopelessly overloaded hyperpop, ballads made of gasoline and dancehall derivatives for people who never get to see the sun. She prefers to do everything at the same time. Does it fit into the playlist? Let others ask themselves that. Haiyti prefers to make art - and take care of the cash register for the next night.

After various major deals and numerous collaborations with the elite producers of the German music scene, Haiyti has now completely freed herself - not only from musical guidelines, but also from the restrictions of the industry. She makes music on her own initiative, 24/7: new songs, new styles and tearing down a stage or two in between.

With her two latest mixtapes "Oubliette" Vol.1 and Vol.2 (release early 2026), Haiyti goes deeper into the subject matter than usual. "Little Sister" is a very private insight and deals with Haiyti's childhood, in which the two siblings were left alone. "Glowworm" describes an extinguished hope.

"One night in Medellín" - a moment that you can't let go of under any circumstances - inspired by drums from the Brazilian favelas.
Will it all be possible again in German? Yes, certainly!

We don't know what this genre is called: German world music? Baile? Gangster rap? Emo pop? She composed the seven songs herself. With the help of her engineer Mujik, she searched for sounds in each category and put them together.
Bake bake bake - Haiyti called.