Bubblegum Club

Tag: Thandiswa Mazwai

  • Zakifo: A Different Kind of South African Music Festival

    If you’re tired of going to music festivals with 37 different versions of Shortstraw, or if you’re tired of 40 straight hours of trance being called a music festival, you should check out Zakifo, an actual music festival. Now in it’s third year, Zakifo has found it’s feet and it’s voice as a uniquely curated international buffet of music, held in Durban of all places. If you’re not a Durbanite, you probably haven’t been before, but with Damian “Jr Gong” Marley as this year’s headliner, chances are that might change. While the first 2 editions of the festival provided a broad sonic pallet from around the world, they lacked the support they deserved because they lacked that universally known draw card that helps build critical mass. There aren’t many artists as universally known, and loved, as Bob Marley’s youngest son. It’s a monster booking that has generated hype for the young and ambitious festival, but is not all they have on offer. For those of you making your way to Durban from the 26th to the 28th of May, you’re in for a real treat.

    Let me be clear, Zakifo has been a vibe from the start. The first year was a weekend long street party outside the Rivertown Beerhall. It was ambitious in its scope, with 2 stages and a lineup that probably would have drawn better in other cities, but still managed to get most of Durban’s creative community dancing in the streets. We’re talking Mi Casa, Make-Overs, The Soil, Felix Laband, Madala Kunene, Christian Tiger School,  Durban acts like The Wolfpack, Veranda Panda and Raheem Kemet (All as they were making names for themselves on radio), and an international lineup that featured artists from France, Reunion Island, Mozambique and my favourite act of the weekend, the enchanting Flaviah Coelho from Brazil. Sounds like a good time, right? It was, you should have been there.

    Last year, they scaled up yet again, with 3 stages at the old Natal Command. A music festival on land that used to be a military base feels like a small symbolic victory for the arts. They bumped up the international acts and audiences got more than they bargained for from the likes of Ghanaian-American Blitz The Ambassador, Too Many Zooz from New York, Mali’s Songhoy Blues, Estere from New Zealand, and the SA contingent of Moonchild, Maramza, aKing, Tidal Waves BCUC,Gigi Lamayne… it goes on for a while. The booking for Zakifo has been on point and unlike any other festival in South Africa. You may not recognise all of them, but you don’t see too many of the names on Zakifo’s lineup on other SA festival bills, and therein lies its value. You’re not going to see anything else like it.

    Zakifo is an ambitious festival and this looks to be be the year that ambition pays off. While Damien Marley is a superstar booking that has given the festival more visibility, the rest of the lineup is on the level with some of the coolest festivals in the world. Birdy Nam Nam are the 2002 DMC World Team Champs and all around French electro legends, but you probably recognise their name from working with A$AP Rocky and Skrillex on Wild For The Night. Tiggs Da Author’s ‘Run’ will be familiar to FIFA fans, but most notably, the video, which is now on over 2 million views, was shot in South Africa using the talents of local drifters. London’s Nova Twins are bad bitches who play “urban-punk”- bass-laden post-punk that sounds like Guano Apes after listening to Death Grips. The South African contingent this year is also phenomenal, there are the legends in the form of Ray Phiri and Thandiswa Mazwai,  the inspiring Bongeziwe Mabandla (who we’ve interviewed before), the phenomenal Petite Noir, and a cappella group The Soil, who hold the honour of being the first act to perform at Zakifo twice.

    While the South African music festival has mostly become known for giving international indie and alt-rock acts a pay day once they’ve lost relevancy, festivals like Zakifo (and AfroPunk) are booking acts that are current as fuck and that appeal to more than just the privileged white kid demographic. Things have felt a bit stale on the SA festival circuit for a while now- repetitive lineups of 70% white boys backed by an international headliner just doesn’t really cut it anymore. I don’t doubt that Oppikoppi and Rocking The Daisies teaming up this year is because of “The Rand”, but you have to look at their lineups over the last few years and ask: How does this appeal to most South Africans? I can’t imagine things getting any easier for festivals like Oppi and RTD with more and more viable competition popping up. Competition that offers something unique, whilst they’re sharing headliners. With AfroPunk coming out of the gates swinging, and Zakifo building on its solid foundation, South Africans have more choices where to spend their annual festival budget and more opportunities to experience something different, something that actually feels South African.

  • Mashayabhuqe, the Modern Maskandi intersects tradition and the avant-garde to capture the millennial mood

    Mashaya shows up to Father Coffee just a few minutes late for our interview and he quickly allows me into the landscape of his life these days. He is fresh from AfroPunk in Paris and we fall into step chatting about his experiences in Paris.

    He is refreshed and ready to work on more music, now on the other side of Amancamnce mixtape, released last year with a host of cosigns from the upper echeleons of the creative industries along with a feature from his friend uMalume KoolKati and a sampling of the original Urban Zulu Busi Mhlongo.

    The Black Excellence Show first released in 2013  introduced Mashayabhuqe KaMamba as someone to watch, and be enthralled by, it presented him and his unique blend of the traditional and Zulu with the digital and urban. He has even been successful enough to have a few copycats, but he’s already onto the next concept, and scheming on greener pastures.

    Mashaya occupies a niche space in South Africa’s music scene, his influences and style collide the past and the future, and his perspective is about walking in creative purpose and pushing the boundaries of what performance and urban music mean within this space. An individual steeped in his tradition and culture, with a mind opened to the global possibilities of his craft.

    MASHAYABHUQE KAMAMBA BUBBLEGUM CLUB 2

    ‘Why are you here? Am I here to make things that are acceptable to the community or am I here to challenge people’s minds?’

    With that said this alchemist of modernity and Maskandi is doing it like it hasn’t been done in a minute, and he has worked with some of South Africa’s legends. I mean real legends; KingTha For The Babies, was a groundbreaking challenge for emerging artists to win a free feature from Le Grande Artiste herself, Thandiswa Mazwai. Mashayabuqhe won it. Now, they have a song, ‘Izayoni’ together. We both geek hard for a second. Then he says, ‘She’s amazing. I listen to the song and pinch myself all the time, her music moulded uMashaya, noBusi Mhlongo, no James Blake and Bon Iver…’

    For a moment I consider Mashaya’s forebears and then him as the next bearer of the legacy both Busi Mhlongo and Thandiswa have built upon. That pioneering perspective that broke new ground and resonated with the culture of coming to Johannesburg to follow a dream and grappling with urbanity and modernity, dealing with the anonymity and isolation of the city while using it to propel yourself to new heights.  It is not a new story, but it presents us with a new face, a new hero every so often; some of them shed their skin and make a whole new persona, eschewing their roots for a brighter future. Mashaya revels in his culture and eschews expectations and definitions, consistently curating his own style, always looking to do what the industry is too afraid to; break musical ground, bring the truth of South Africa to the fore using its culture and its current permutation as an outpost of western culture, to tell the story that we can relate to and be inspired by.

    His energy, wonder and sincerity are on a hundred this crisp Jozi morning; he lets me in on how he grew up in a village eNkandla and how most of his English was studied from the television and music he was exposed to at his family’s home. Then he wound up working in television in Jozi with his most faithful friend uMatsoso who has supported Mashaya’s career from its infancy and continues to call him to this day to inform him of the latest copycat to appropriate Mashaya’s sound. These simple things, these pieces of his history give context to the person I see before me now, that understands and reconstructs the relations between art, technology and tradition and refuses to be pigeonholed or defined by anybody but himself. And he’s already onto the next one.

    ‘I just dropped Sun City flow, and there’s a lot of attachments to it, it could be the jail, or the casino, or any city in Africa because there’s always sun. This song is about sharing my experiences with the kids; letting them know that if you’re a raw talent, they will try to chain you.’

    Mashayabhuque chooses substance and creativity when it comes to his art, thus staying true to the source to leave awe and imitators in his wake while the world waits and watches to see just how far he takes it.

    MASHAYABHUQE KAMAMBA BUBBLEGUM CLUB 1

    Editorial image credits

    Photography: Hanro Havenga

    Styling: Jamal Nxedlana

    Image 1:

    Mashayabhuqe wears a suit by Diego Ranieri, beret by Crystal Birch and a neckpiece by Pichulik. (Accessories stylist own)

    Image 2:

    Mashayabhuqe wears trousers by Diego Ranieri, beret by Crystal Birch.  (Accessories stylist own)

    Image 3:

    Mashayabhuqe wears a shirt by Studio W, trousers by Diego Ranieri, beret by Crystal Birch.  (Accessories stylist own)

  • pH, A sound connoisseur expanding the boundaries of urban African music

    Raw X studios is where the magic happens, where pH has produced and recorded some seminal South African works. The esteemed producer dropped his solo effort, From Giyani with Love last year to astounding success. I sat down with him to review his recording career, and delve into the world of a brilliant beatmaker.

    My first interaction with pH was the rapper launching his album at Koolin Out, the city’s premier live hip hop event and showcase. The magic of this moment was palpable in the presentation of his debut. And the performance was incredibly special, offering insight into the rapper’s journey while delivering live energy and raw lyricism.

    From Giyani with Love proved to be a really successful project, with features from Yanga, Reason, Thandiswa and AKA the album offered a range of sounds and stories to connect too. The rapper provided a fresh perspective for hip hop in the country and through identifying himself as Shangaan, from Giyani and using the language in his work, pH made a contribution to cultural pride in his community, a necessary contribution in a country where much ignorance and insecurity abounds around Tsonga people. The album is an excellent introduction into the expansive beats and languid lyricism from this artist. And a follow up is already on the way; D2 is to be dropped sometime this year, and he’s is excited about the progress he’s made as a rapper, finally feeling himself in the medium. pH details the tricky process of finding his voice as a rapper, the dedication and preparation that goes into being able to express yourself in rhythm and poetry.

    from-giyani-with-love

    Lost in Time, is as much a Khuli Chana album as it is a pH production. The two made the album together and through the special musical connection they shared, they made a classic, critically acclaimed album. It produced the hits Tswa Daar, Hape pt 1 and Hazzadaz Move. It went on to be the first hip hop album to win the SAMA for Album of the Year and it projected its protagonists, Khuli and pH into the upper echelons of the music industry. It also introduces pH as a rapper, on Chillin’ the world got to know the voice behind the beats and the confidence from the album pushed him to begin work on his solo effort.

    ‘Once you can create, you should be doing that everyday’, the words of a committed creative, a person consistently pushing their craft and career. A sound connoisseur working to expand the boundaries of urban African sounds. pH’s love of music, pride in his cultural heritage and pure talent comes together in the music that provides references from the continent whilst understanding the universal appeal of homegrown sounds. An artist to watch and appreciate as he continues to create music that holds the tension between the urban and the traditional; a beautiful balancing act.