It’s a fight against everything that wants to oppress women, says Ikkimel in an interview for ZDF. A Berlin-based rising rapper, she is shaking up Germany’s music scene with her provocative style. She raps openly about partying, sex, drugs, keeping men on a leash, and women’s empowerment. Trashy or revolutionary? Germany is divided. “Mama Ikki’s” art became a safe space for women on TikTok and Instagram, where more and more women reveal their stories of abuse. What lies behind Germany’s digital MeToo movement?
Shut up, leash on, honey, now it’s the women’s turn
Ikkimel grew rapidly in prominence as a voice for a new-generation feminist awakening. Her unapologetic lyrics confront themes of partying, sex, drugs, sexual empowerment, and rebellion against patriarchal control challenge traditional gender norms and societal expectations.
“She is very straightforward and unapologetically takes what she wants, which normally women are taught not to do”. – Marija, 25
The artist calls her newest album “Fotze” (Cunt), reclaiming the term used to slutshame women. Bold move or just self-sexualisation? Opinions vary. When asked in an interview for RBB about the story behind the new album’s name, the artist responded almost carelessly that she didn’t give it much thought only to add later on that she likes to lead a very sexually opened life and If a sexually opened woman is a problem here, then she’s a “cunt”, not exactly catching up with the overly excited-feminist approach of the host, making one think – Has women’s empowerment been Ikkimel’s primary goal from the beginning, or is it more of a byproduct of her sexually open self-expression?
“I feel like everyone is so focused on labelling her that they all forget that not everything a woman does is feminist. Frankly, I definitely think her songs are not feminist. They are self-sexualising and objectifying. But that neither means that they’re not empowering nor that Ikkimel is not a feminist. Not every action is a feminist one but it might have a feminist outcome. Does it make you a feminist though? Depends on whether you actually work on abolishing patriarchy or not”. – Diana, 26
Now, without a question the young rapper’s persona brought back the so-called “Fotziger Feminismus” (Cunt Feminism) into the German mainstream discourse – a feminist movement in the German-rap industry characterised by reclaiming misogynistic sexual language and challenging sexual objectification via confrontational language.
The movement emerged as a new female voice in the largely male-dominated German rap scene, starting from Reyhan Şahin, and culminating on the two biggest faces of the movement at the time – Ikkimel and Schirin David.
“I like the concept of the “Fotziger Feminismus”. I really like the concept of women being really strong, extreme, and taking back that iconic concept of feminism. Sometimes you need to be extreme to draw attention.” – Hanna, 18
And as male rappers still use vulgar and sexual language facing no consequences – women like Ikkimel meet with public backlash. After all this time, we as a society persist in assigning different behavioral norms depending on the gender. Perhaps Ikkimel’s loudness and crudity
#MeToo2025
While Ikki’s single “Who’s That” did stir the pot even more, becoming a true breaking point in her popularity. The track entered the German charts on June 27, 2025 and reached its peak popularity spreading on TikTok and Instagram in early September 2025. “Who’s That” rose beyond charts, becoming a cultural phenomenon and a catalyst for Germany’s new MeToo movement.
“Cancellation again,
I’m still the same
After seven vodka sodas
I don’t know my name anymore
But you do,
you son of a bitch”
Ikkimel: Who’s That?
Despite the track not discussing the topic of sexual violence, it gained a unique re-interpretation in the eyes of by vast young women who started to shoot short form videos sharing their experiences related to past traumatic events, such as sexual violence and grooming. Creators lip sync to the song’s fragment as text on the screen reveals the story of the victim. The clip ends with a confident look into the camera to repeat after Ikkimel: “But you do, you son of a bitch”, addressing the abuser directly with a message – You know what you did to me. My name will haunt you forever.
The trend is not only a form of solidarity but also a message: in 2025 feminism is still needed and many women feel helpless in the face of violation of their rights.
Ongoing Struggle for Women’s Safety
The wave of individual stories inspired by “Who’s That” quickly revealed the widespread experiences of gender-based violence among women, highlighting that, despite growing solidarity and visibility, violence against women is still a pressing issue in Germany.
Numbers don’t lie – gender based violence is on the rise. In Germany, on average, one person experiences violence in their immediate social environment every two minutes. Around 73% of those affected are women. Rape and sexual assault cases have increased sharply in Germany. A total of more than 13.000 crimes were recorded in this area in 2024 – that’s a 9% percent increase.
Every three minutes a woman or girl in Germany experiences domestic violence. According to the report conducted by the Federal Criminal Police Office more than 140 women and girls in Germany daily become victims of a sexual offense over half of whom were under 18 years old.
Out of all attempted or completed homicides 33% of victims were women. According to the report in 2023 a woman was killed nearly everyday in Germany.
Only 14 % of cases are reported to the police, and in 20.5 % of cases to a healthcare service or social service – says the report conducted by the European Parliamentary Research Service. Women feel fear and shame, and lack of confidence in the authorities, while public attitudes towards violence against women, including victim-blaming which may deter them from reporting their case.
That is why the “Who’s That?” trend resonates so deeply with many listeners—it creates a safe space for women to express emotions that often remain hidden due to fear or shame. Victims used the music to reclaim their voices, transforming individual stories of trauma and silence into powerful moments of solidarity and visibility. The trend does not only reflect the harsh reality of underreporting and societal stigma but actively challenges them, empowering young women to be heard when traditional systems fail to support them.
