Tag: moonchild sanelly

AFROPUNK returns to Constitution Hill

It is fitting that the first AFROPUNK Festival to be held in South Africa took place on the historically significant Constitution Hill in Johannesburg. The festival, inspired by the documentary ‘Afro-Punk’, which spotlighted black punks in America, was first held in 2005 in New York City’s Brooklyn. Originally aiming to help black people build a community among the white dominated punk subcultures, it has grown to include a wider audience and a broader range of music, yet still highlights alternative black artists.

With this shift away from pure punk culture towards celebrating blackness in its many forms, the festival has grown. Events are being held in Atlanta, Paris, London, and Johannesburg, with a total of more than 90 000 attendees. Utilising their platform for entertainment as well as change, the mantra of AFROPUNK is: “No Sexism, No Racism, No Ableism, No Ageism, No Homophobia, No Fatphobia, No Transphobia and No Hatefulness”. A free space for black and other bodies that do not fit into the moulds presented by mainstream media.

Judging by the expressions and attitudes of those who attended South Africa’s first instalment of the festival, it is clear that this approach is highly welcomed in the country. For many this is a cathartic experience, beyond just the amazing music that is on offer from local and international musicians.

And it is this fact, that the festival both provides a high standard of music along with a safe environment to enjoy it in, that has led to its success. Returning to Constitution Hill, this year’s AFROPUNK line-up is no different, with a strong balance between forward-thinking local and international artists. From the likes of Los Angeles’ future R&B superstars, The Internet and Thundercat. To experimental electronic music from Flying Lotus, who is debuting his 3D show on the African continent for the first time, to the superb dance grooves from producer Kaytranada. The legendary hip hop group Public Enemy and the queen of New Orleans bounce, Big Freedia. The international acts are a highly diverse showcase of black creativity.

Similarly, the local acts on the line-up have all carved out niches for themselves in South Africa’s competitive music industry. They have stood out as artist that not only make a difference, but sound different. Local hip hop in its many guises is represented by Mozambique’s Azagaia and Cape Town’s YoungstaCPT, and Dope Saint Jude. Each of which are incomparable with their unique take on the art of emceeing.

Other acts on the line-up include Joburg’s performance duo FAKA with their sound that is familiarly South African, yet utterly futuristic. As well as the sex-positive performer Moonchild Sanelly with her leanings towards Gqom and alternative pop. Joburg’s Thandiswa brings her revolutionary fusion of modern and traditional African sounds, while Nomisupasta brings a unique take on locally inspired music. Rounding off the local acts is Soweto’s BCUC, AKA Bantu Continua Uhuru Consciousness, with their highly energetic and emotionally charged rhythms.

Themed THE PEOPLE RESIST, this year’s AFROPUNK is a call to action against racism, patriarchy and any form of hate. With 20 000 people descending on Constitution Hill for the first instalment of AFROPUNK Johannesburg, this year’s event promises to be even better and bring people closer together. Aside from music, the festival also encompasses Bites & Beats, Activism Row and the SPINTHRIFT Market as well as the chance to earn tickets via the Earn a Ticket programme. In the build-up to the event, the Battle of the Bands Joburg competition is held that seeks to unearth new musical talent.

To buy your ticket click here, and keep your eyes on AFROPUNK’s social pages to find out which other acts are announced and for more details about the event.

9 August 2018
Converse One Star // For those who live by their own rules

Converse fans are well aware that the Chuck Taylor All Star is the brand’s iconic silhouette. However, for those who appreciate the anti-hero, the Converse One Star encapsulates the spirit of those who operate against the rhythm, living fearlessly on the edge. Launched in 1974, and built for the basketball court, the sneakers were pulled from the market a year later. When brought back to the shelves in the 90s, the sneakers were associated with grunge and skater sentiments – becoming a statement for those communicating anti-fashion. The One Star has had waves of appearances and has evolved since its inception, with subculture quickly latching onto its ability to capture their aura of defiance. Those who wear the One Star embrace its history and understand that it speaks to their own journey – never asking for approval, and acting in their own way.

In celebration of the One Star resurgence this and its latest look as part of Converse’s Spring 2018 collection, Converse shines the light on four South African creatives who choose to live by their own rules.

Moonchild Sanelly – Musician

What does Converse mean to you?

Street culture.

How did you have to fight for your place in the SA music industry?

By not listening to anyone who had an opinion about what I believe in and staying true to myself. By not being pressured by material things and never-ending bills. Fear is not in my vocabulary. I am a fighter!

How important is it to find an individual, authentic voice as a musician?

Image is everything. Taking it seriously is a part of your brand responsibility.

How do you continue to push boundaries as an artist?

By being unapologetically myself because I am me! And there’s nothing like me.

Seth Pimentel – illustrator

How do you construct your illustrative practice to operate outside of the box?

I wish I honestly knew. I guess things just happen. I’d go on the rant about being overwhelmed by the creative process and feeling what I create, to the point where I embody it. But that’s just a mundane answer. I don’t think I can do this question justice.

What drives your unapologetic approach to image creation?

I guess my own desire to remain myself in the chaos of everything. The older I’m getting the less ashamed I’m starting to feel about my proclivities.

What are the ways that you have built a creative signature as an artist?

I really don’t know. I guess this weird sense of consistency. It’s easy to get devoured by the relentless waves of other styles and approaches. But I guess sticking to yourself, finding inspiration from other artists, learning from them, and then creating from what you’ve learnt helps you find yourself. Damn, that was a cliche´ answer.

Do you see yourself as an anti-hero?

Yeah, well I never really belonged anywhere. Felt like this my whole life. Still do. I guess I kinda like to think that I epitomize the idea of a Pariah. One of my favourite musicians Aesop Rock has a line that goes “Stepped inside a club like a statue crying blood. Dance floor scattered, staff asked me why I’d come.” A good summary of what it was like as a teenager. Weird how things go now.

Lorenzo Plaatjies – illustrator

How do you defy the norm?

I think I defy the norm through my work – I’m an artist. But I don’t own an isle or a studio. I don’t use paper, unless I’m printing. Neither do I touch a pencil, to be honest. I work with what’s in my pocket on the go. I work on my phone. Creating paintings wherever I am: on a bus, on the sidewalk, with the homies, wherever. I don’t let norms and stereotypes define how I execute or create.

How do you translate this attitude into you work?

I translate it more into the way I work than my work itself. My work is about wonder and beauty, but I don’t let traditional methods or how the status quo do things limit me. I’m not afraid to do things differently.

How do you feel Converse resonates with you and your practice?

I think Converse and I resonate well. Converse is a brand I always felt pioneered new waves in creativity, and I’m here to do the same. A Converse One Star sneaker almost suits any fit – it’s adaptable, and I feel the same about myself.

How do you push yourself to take your practice further?

I always push myself because I feel nothing I create is ever enough and I hope it stays that way. I’m constantly chasing new goals and an almost frightening vision.

Siya Ngena – Rapper and one half of Champagne69

What drove you to step into the SA music scene?

It really happened by chance. William and I were working on a mockumentary of Braamfontein culture and we started to work on the score and we later put that out and it garnered a lot more attention than we expected, and we took it seriously from then on.

How does Converse fit into your personal style?

The designs and colour vary from one to the other so it adds a distinct but simple flavour to every fit, even if it’s the same fit with a different shoe.

How important is it for you that what you wear represents your attitude towards life and your music?

To me it’s a necessity. I always try to find a balance between style and comfort. Music and fashion are parallels and I treat them as such. Right now though, I must add, I’m not even in my final form.

What are the ways in which you are fearlessly constructing your own voice?

I’m a big fan of anime and gaming culture, and that inspires my lyrics, aesthetics and overall energy. Some people even say I look like an anime character and I’ll carry that energy with me forever.

22 May 2018
The Sound of Black Joy: A New Year’s Eve Meditation

There is a New Year’s Eve I remember vividly like the afterglow of a fireworks display. I was very young, barely five, enjoying the newfound victory of staying up until “Happy New Year”.

I stood in the fog created by the multiple braai-stands, mystified by the happenings of black joy that intensified with every song that played on the chart, counting us down to the anticipated three-two-one and, most importantly, the song that was to carry us into the new year straight after.

The moment finally came. I remember my mother screaming around the yard with her sisters, with 100-if-you-lucky shooters in hand, muting the stars with crickets. I remember blocking my ears to cushion the thundering blows of Ama-Bhomu and I remember the sound of zinc roofs trembling under the terror of Malum’ Mthoko’s Telefunken sound system. I may not remember the exact song that played at midnight that year, but the significance of “Ingoma Ehlukanise Unyaka” was something that stayed in my memory until today.

The space between then and now is filled with many songs that defined the times that never stopped moving. From Brenda Fassie’s ‘Vulindlela’, Mafikizolo’s ‘Bhuti Ngihamba Nawe’, to the more recent ‘Umlilo’ by Big NUZ, and last year’s heavily meme’d ‘Sobulala u Van Damme’. I should also highlight the difference in tastes that resulted in one Metro-FM-listening echelon of our culturally diverse society “splitting the year” to Babes Wodumo’s Wololo, in the same year that ‘Sobulala u Van Damme’ did.

It is now December 2017. The December of the vosho-induced paralysis and Gin salads, amongst many other things. New Years Eve is around the corner and many of us are ritualistically sacrificing the dick that is to stay in 2017, for the sake of our own wellbeing. More importantly though, we are about to find out which song is worthy of carrying us into 2018, the sonic epitome of alrightness in 2017.

There are many contenders. ‘Omunye’ by Distruction Boyz, for one, had the entire nation proclaiming their wig-less-ness since the release of their much anticipated album titled ‘Gqom Is The Future’. If you listened to Gqom 5 years ago, back when The Boyz had their phone numbers at the end of their song titles, when GTi driving bhutis tried to silence Gqom ngoba lento inomsindo, you’ll understand why this moment is so important. The Boyz have worked from the start to carve their own space in an industry that was not really about them. Now they have one of the biggest songs and that kind of impact makes me look at them with the same vicarious pleasures my uncles had when they watched soccer players rise from similar circumstances and make it to some big squad or whatever.

The other big contender is Midnight Starring by Busiswa and Moonchild feat. Dj Tira & Dj Maphorisa (in all honesty). Another Gqom gem. I’ve actually heard more of this song since I have been in Durban and that is very telling. 5-year-olds will scream “please call future baby” with their last niknaks breathe, aunties demand the song like “aw’fake i panty eline lace lapho”. It literally gets more iconic. Those lyrics, those voices, those yebo’s that demand that you agree – it’s all power, with the black femme face we deserve.

When we reach the pivotal three-two-one this weekend, I would be happy if any of these songs took it. It’s not an easy task to get the entire nation gyrating into the promising arms of a new year. And it’s all the more significant now that it feels like it will be one of our own who will define the times that never cease to move.

30 December 2017
Fortune Shumba and Dubokaj Collab on an Emotional Dub Release

I know pretty much fuck all about Reggae and Dub other than the UB40 tapes my mom would play in her Uno Fire, and nights out at Cool Runnings. I also saw Damian Marley live in a haze of smoke at Blue Lagoon for Zakifo. That’s about it. Other than that, they’re not really genres I’ve ever gotten into. Like, I smoke a lot of weed, but not enough to bop to dub at home. And reggae has just kinda always felt like Gospel music for Rastas.

So, that I find myself listening to ‘Dubokaj Meets Fortune Shumba’ on repeat is a new experience. I find myself entranced by the experimental reggae and dub beats of Dubokaj and hypnotised by Fortune Shumba’s soulful vocals. On Soundcloud, the release is tagged as reggae but 3 of the 7 songs are dub mixes. I’m not great at telling the difference tbh. Dub is what reggae sounds like when played in the bath, right? Cause this definitely has that dreamy underwater feel with synths echoing through the haze.

Lyrically, Fortune cynically explores lust, love, and relationships. From the opener of Trinidad Babies, in which he swears it isn’t a love song, to the moody Nobody in which he laments through a vocoder how much nobody knows how much he misses “you”, Fortune takes a more emotional and sentimental approach than I typically wouldn’t expect from music I typically associate with potheads.

I don’t know too much about the swiss producer Dubokaj, unfortunately, although his work on this project makes me want to explore more of his catalogue. I do know, however, that Fortune has shown he can’t be pigeon-holed and has added his touch to a variety of beats by collaborating with a wide range of artists over the last 2 years. From his ‘Dawn EP’ in 2015, to now, the back-up dancer for Moonchild has steadily been putting together a body of work that’ll see him in the foreground of stages in days to come.

28 December 2017
10 years of Moonchild

“My mom has special powers, she sees stuff before it happens. So she’s an inyanga [healer in Xhosa]. Inyanga also means the moon, so instead of being a child of a healer I choose the moon. It’s about being the child of someone with a special gift,” explains Moonchild Sanelly when asked about her stage name. Born in the Eastern Cape, she was surrounded by jazz thanks to her mother who was a jazz singer and owned a jazz tavern. Weekends were spent at her grandmother’s home where her cousins who were Kwaito dancers would practice. Along with hip hop, these were the sounds she was exposed to as a child.

Moonchild Sanelly always had a desire to be on stage. Singing and dancing from a young age it was in high school that she formed a group with a few of her friends and started performing Spice Girls covers at school assemblies. “I was a stage kid. I don’t remember thinking about becoming a singer one day. It was just one of those things, I’m going to be on stage, period.”

Moving to Durban in 2005 to study fashion, her first performances were as a poet in 2006. While she can’t remember being introduced as anything else other than Moonchild, officially Moonchild the artist was born in 2007. Instead of trying to fit into the typical rhyme scheme or poetry mold she would let the characters she became on stage guide her performances. This led her to getting a regular slot on King Siso’s show on Kakasi FM. Already as a poet she was already subconsciously engaging with acts of female empowerment. “There was always some form of empowerment, without even me knowing I was empowering. I was just standing up for women. It was just me being myself.“

Moonchild Sanelly describes her bold style as ghetto funk, a combination of music, fashion and dance. Her performances are energetic and sexy, with Moonchild Sanelly never standing still. Explaining her performances Moonchild says that, “this is how you lose your mind. This is when you lose your morals. This is when you are just free. And then you bring out the girl you always are.” Her lyrics are in a mixture of Xhosa and English and are a reflection of her authentic voice. “It’s literally the way I speak so I’m super expressive that way.“

The past year has seen her collaborate with a variety of artists which she views as an opportunity to expose people to her music that would otherwise have not been exposed to her work. “I don’t want to change my sound. I want to be myself. But then there are people that will never be exposed to that.” The approach seems to be paying off as more people are starting to take note of her talents. “It’s working out nicely because now people hear one verse in a feature and they go back to the actual album. They know my music because the verse in the feature is already different.“

Her long list of collaborations include three tracks on DJ Maphorisa’s upcoming compilation, including a track with Shimza and DJ Maphorisa as well as one with Rude Boyz. Meanwhile her current single ‘F- Boyz’ is getting the grime treatment and will be released in the UK. She’s also got a track with Japan-based Weird Together alongside Kwesta coming out, while her track with Original Swimming Party, ‘Biggest Curse’, is getting an international release. Finally her track ‘Yhu’ with The Kiffness is currently on radio rotation. “There’s a lot of music,” says Moonchild excitedly.

With so much music in the works an album is not a priority for Moonchild at the moment. “I feel like the features I’ve got are an album on their own. Before I even drop anything. I’ve no pressure to drop an album for next year. I’m definitely doing EPs.” Next year also sees Moonchild going on tour. While several destinations are on the cards, London is confirmed. With her voice reaching so many markets it’s only matter of time before Moonchild Sanelly becomes a household name.

Credits:

Photography & styling by Jamal Nxedlana

Hair & makeup by Orli Oh

Styling assistant – Lebogang Ramfate

14 November 2017
Georg Gatsas – Exploring Cities Through Portraiture

The work of Swiss photographer Georg Gatsas has been published by magazines such as Wire, Dazed, i-D and Beat. Georg has been operating between London and Zurich for the past couple of years. He recently spent some time in Johannesburg as part of an artist residency organized by Pro Helvetia. I caught up with him to find out about his work and his time in SA.

Georg shot his first series called “The Process” (2002-2007) in New York which ended up in several exhibitions, magazines and publications. Currently, he mainly works as an analogue photographer. Shooting on film has allowed him to develop a particular attitude towards the shots he takes. Thinking about the cost of film rolls and that each closing of the shutter has a feeling of finality to it, Georg tries to focus and capture the right moment, taking less shots than he would with a digital camera. And often he finds it easier to carry around an analogue camera. In mentioning his creative process, Georg emphasized how he enjoys working organically and tries not to force any part of his work.

Tube Station

Georg’s first series were mainly portraits of musicians, visual artists, performance artists and designers which he shot at night. The people he was shooting were living mostly parallel to mainstream society; they had created their own hub. Through taking their portraits he got into their sleeping rhythms and started shooting nighttime streetscapes and the environment of the people in his portraits. The combination of these pictures became a portrayal of New York City and particular kinds of people who lived there. While residing in London for an exhibition in 2008, he started shooting the UK base music scene, which over an eight-year period has developed into a series called “Signal The Future”.”The portraits as part of the series become a portrayal of a certain environment, but also of the times we live in.” Georg explained that his work can be looked at in different ways, bringing to the fore questions on global sound, migration politics, cultural production in a hyper-capitalist city such as London, new aesthetics, new instruments of the underground, and how the mainstream reacts to it.

Having only spent time in Europe and the States before, he was initially quite thrown by the different rhythms and ways of being in Johannesburg. But soon his desire to learn about the flow of the city became stronger. His photographs from SA will follow a similar creative starting point to his previous work – capturing artists best representing their city. He has been photographing some of South Africa’s most interesting producers, musicians, artists and performers of 2016, including Fela Gucci, Mante Ribane and Dear Ribane, DJ Lag, DJ Doowap and Moonchild Sanelly. In his comment on how he selected people to photograph he explained that “it has to be a fan boy thing. So I am first of all a fan [of their work].” He explained that his choices were based on people doing important work, but work that was not quite defined yet. “I don’t like defined stuff. I like surprises…I like when people try out new things, things that move forward.”The photographs from Georg’s Johannesburg series will also be linked and combined with the images from his previous series as some of the artists in all these series know each other personally, are communicating and collaborating with each other.

Manthe Ribane

Georg’s experiences in Johannesburg and the people he has met have influenced the way in which he thinks about his work. “I have learned a lot politically, work wise, rhythmically. And a lot on the history of photography coming out of Africa and South Africa which is heavy, complex and difficult.”

Georg will be back in April for the second part of his residency. His first solo museum exhibition will take place at the Kunstmuseum St. Gallen in Switzerland in November 2017, and parts of it will hopefully lead into partnership exhibitions in London and Johannesburg.

DancerII

Sky H1

Bill Kouligas

2 January 2017
My Urban moments of Silent Rupture: A weekend at the Red Bull Music Academy

I fucking love Joburg but hell, the city is killing me! It’s a city at the epicenter of creative talent and cultural fusion screaming for recognition. It is here that Red bull music Academy (RBMA) decided to host one of its global music festivals at what for me is the heart of this amazing city of Gold.

The festival would last for 4 days with various interactions and shows held around and within the city Centre. Though such caused my mouth to water and my legs to shake, it would be the longest party session since my varsity years.

Felix Laband performs during the Red Bull Music Academy Weekender in Johannesburg, South Africa on September 2nd, 2016 // Tyrone Bradley/Red Bull Content Pool.

Day 1

I started my Thursday evening on a calm footing. The festivities would begin in Braamfontein. Parking turned out to be a nightmare as it was also First Thursday with galleries open and the food market in full swing. My car guard was especially chirpy that evening demanding that I first give him 20 Rands. He then negotiated down to 10 now and then 10 later once he saw that I wouldn’t budge. Business was booming that evening but he wouldn’t be getting any from me.

The Kalashnikov Gallery on Smit Street would be hosting the haunting urban landscapes of Elsa Bleda. Her exhibition entitled ‘Nightscapes’ features the side shots of Central Joburg buildings. The images of windows standing to attention in strict order with the walls under a silent evening glow. Washing lines drenched in laundry from lonely balconies. The warm light streaming from the night soaked windows seek to remind us of those quiet moments of solitude that happen in the urban sprawl.

Her photographs remind me of the quintessential Joburg buildings. On the outside effigies to a forgone history, that have lost their shine. But within the dense populous, individuals and intimate stories are at play. If we only just stopped and smelt the city fumes. These are ‘quiet moments’ I search for in the city.

Jazzuelle ft The Lazarusman performs at Kitcheners during the Red Bull Music Academy Weekender in Johannesburg, South Africa on September 2nd, 2016 // Tyrone Bradley/Red Bull Content Pool.

Day 2

It’s Friday! I have clocked out from my day job and I’m desperate to officially start the weekend. I’m super armed. Loaded with my press pass and drink tickets, money would not be an issue.

It was back to the city for me and I had dived into it on the deep end. Braamfontein was even more packed than the night before. The streets were buzzing and Red bull signage showed who owned the streets for the night.

I ended up in Great Dane hoping to catch Felix Leband live. I could barely get in the venue, thank God for my media Golden ticket. Sucked into the soothing electronic vibes the venue was the epitome of “happening”. You could barely see the walls. Leband was the conductor orchestrating a sea of heads. At this point there was no space for dancing, only the swaying limbs moving in time to the technic beat.

Okzharp and Manthe Ribane prepare to go on stage during the Red Bull Music Academy Weekender in Johannesburg, South Africa on September 3rd, 2016 // Tyrone Bradley/Red Bull Content Pool.

Day 3

By the third night I am an absolute wreck. I was but a specter of my human self. The night before it was not I doing the drinking but rather the drinks that were consuming me. I had to move on because this had been the night everyone had been raving about and the highlight of my festival, Fat Freddy’s Drop, were in town. I had a responsibility to my readers to push through the hangover.

The event would be hosted in what used to be the sheds that housed the electrics and services for the trams in the early 1900s. This would be the life blood to a budding Johannesburg. Then a mining town at the precipice of colonial forced “modernity”. Today this space has been repurposed to suite Joburg’s new developmental phase of Hipster Gentrification and all the fun and contradiction that comes with it.

Whilst recovering from a major hang over, my new best friend was a can of Red bull classic, the pungent smell of the holly herb seeps through. Its strikes me as ironic that such would be consumed on such an unholy site. The Johannesburg police station was right next door in full view. For those who know this stations infamous history, they call it John Vorster Square. But hey, it was time to party and my favorite local artists were about to show us why ‘Local is just so lekker’.

For me the best part of this all experience was getting to see Moonchild Sanelly in the sexy flesh. She is for me the next Brenda Fassie. A black woman unafraid of her gorgeous body, sexuality is her weapon of choice. It’s not enough to just buy her album (seriously go buy her album on ITunes now!) her high energy performance is the music. Her pop electronic is punchy as a mutha fucka but it’s her music’s deep hard base that keep her music grounded. A mixture of synth pop and kwaito, she keeps it raw on stage, unafraid to show you where the juice is.

I experienced one of those ‘quiet’ city moments from the security guard at the front of the stage. He honestly had the best seats in the house being 1m from Moonchild Twerking bubble butt. He looked like some one’s dad sporting with the facial expression of having smelt something foul. Moonchild’s intensity, her exuberance seemed to be the cause of his offence. What a moment of silent disgust, while Moonchild did her thing and her fans screamed her lyrics in joyous delirium.

For the Academy’s finale that evening Fat Freddy’s drop would be the band to release us into the final throws of the night. Having never heard this band before I can honestly say that they are the craziest and funkiest course in modern music theory I have ever experienced. The band, 7 oaks from New Zealand, who started their session with some reggae. They then threw themselves into a mellow dance hall track and then flung the audience into what can best be described as an intergalactic Disco fusion. A sort of meditative calling to an alien Diana Ross in the heavens. I could not help but dance. My legs were pretty much adamant at this point that I do so.

The ‘quiet’ moment of this evening was watching Toby Chang (aka Toby Laing) on an explosive trumpet medley, changing from slick cut suit to a fabulous pair of white shorts, white top and silver cape. I was in utter awe of his performance. He was in constant motion, his moves Juggernauting through the bands playing, his trumpet was just keeping up with the player. Man, was it a performance that I will never forget.

The festival ended for me that night and would have to continue without me that following Sunday. At Soweto Zone 6 the festival would host its final day. The highlights would include Oskido, Vinny da Vinci and Black coffee. My soul was ready but body was weak and there was no way I could contend with the barrage festivities but somehow I survived and now live to tell the tale.

The RBMA Weekender in Johannesburg was a testament to the great entertainment the city has to offer and is a must see for anyone in the city. It is also a reminder of its possibilities. It is not just a space for commerce but a space for creativity and the ultimate hustle for survival. The city of Gold is not for everyone and many do not make it through its relentless streets. As a young professional failing at ‘adulting’, I’ll be damned if I don’t get my piece of this incredible city!

Uppercut performs at Great Dane during the Red Bull Music Academy Weekender in Johannesburg, South Africa on September 2nd, 2016 // Tyrone Bradley/Red Bull Content Pool // P-20160903-00746 // Usage for editorial use only // Please go to www.redbullcontentpool.com for further information. //

Mashayabhuqe performs at the Kitchener during the Red Bull Music Academy Weekender in Braamfontein, Johannesburg, South Africa on September 2, 2016 // Wayne Reiche / Red Bull Content Pool.

Riky Rick performs at Zone 6 during the Red Bull Music Academy Weekender in Soweto, South Africa on September 4th, 2016 // Tyrone Bradley/Red Bull Content Pool.

12 September 2016
The rise and rise of Moonchild Sanelly

My first meeting with Moonchild was in Cape Town, she performed at the legendary Cold Turkey and won me over with her energy and openness. Her performance was electrifying and I’ve watched her grow from strength to strength in every facet of her creative output. Now some four years later I sit opposite a SAMA nominated artist, an established fashion designer and the person responsible for the proliferation of coloured woollen hairstyles. The opportunity to connect with someone at such an critical moment in their career is beautiful, Moonchild’s energy and love for her work is palpable, her ambition supported by a steel will and drive to make people dance and sing and celebrate. She’s on the road at the moment, about to perform at Zafiko festival in Durban and Primavera Sound festival in Barcelona.

Moonchild is on a roll; The New York Times featured her in a photo diary by Chris Saunders that revealed her perspective and hustle in GoliWood, she’s going on a national tour with Red Bull soon and she is currently nominated for one of the nation’s highest musical honours. The SAMA nomination is a nod from people within the music industry, people who run record companies and make it their business to invest in new talent and artistry. “The nomination has opened a lot of doors for me, people actually respond to me emails now ” she says with the sweetest smile. ” I don’t know if it’s hit me yet, and I’ll be travelling when the ceremony is on but I do hope I win “. Her competition is stiff but anything is possible, so we await June 4th with bated breath. This nomination reflects the establishment taking note of alternative and independent artists, the people who run the streets and contribute to urban culture are finally being recognized in the upper echelons of the creative industries.

Creativity is a beautiful gift and meeting it with professionalism and productivity makes it powerful. This is the power Moonchild exudes, ‘I want to be exhausted, I’m just tired now’ she says in reference to her touring schedule for the coming months. Her dreams are big and her passion spills out in the conversation about recording and singing. And after 7 years in this city, these accolades and opportunities are well deserved, it really is inspiring to see things come together for such a talented, ambitious human, I tell her this, she smiles that same sweet smile and says, ‘I want a lot, I’m on my way to getting it’.

Moonchild’s latest single Fox With That, produced by her long time collaborator Maramza is available on iTunes and currently rising up local charts. Follow her @Moonchild_SA and watch out for her performing somewhere near you, soon.

Words by Oratile Mashazi @Oracle254

27 May 2016