An exhibition that forces one to look at the duality of society and confront the chaos of reality
On April 9, the Wits Art Museum (WAM) opened its doors to “Now is not Forever” an exhibition by the artist Theresa-Anne Mackintosh. The art pieces are more than just sculptures and paintings on the wall; it was figures and strokes that represented the chaos and disorder of society and reality.
Walking into WAM on opening night, one is immediately drawn to the vinyl writing on the wall. It explains who the artist is, what the exhibit includes and what the expectations of the artist are for the viewer when interpreting her work.
Now is not Forever, wall of description. Photo by Keletso Zwane.
Mackintosh included two forms of her work in the exhibition. The first being paintings, which are some of her older works. These required me to look beyond the canvas and challenge my ideas of what was on that wall. Ideas that art can only be consumed at the surface, and that art needs to make sense and be pretty. Art can be unconventional.
The pieces that truly caught my attention were three pieces that included figures mimicking the morality of life. These were titled “hear no evil”, “see no evil” and “do no evil” and included figures having had various parts of their bodies, related to the action painted over.
One used the ears to hear, the eyes to see, and the hands to do, and these in Theresa’s work were painted over. It was visually stunning. The erasure of these elements meant that they are no longer in use, thus evil could not be heard, done or seen.
The second form included sculptures, embodying Mackintosh’s alter egos. At first, they were simply appealing to the eye. The colours were vivid, and the figures were intriguing. However, art did what art does best and challenged me to interpret what the sculptures represented, not just to the creator of the art but the consumer as well.
And I, having been the observer for the night, was subjected to understanding that these figures had represented familiarity. These sculptures are recognisable figures, dogs, people, dolls – all things that I have seen, felt, and engaged with.
Picture of sculptures at exhibit. Photo by Keletso Zwane.
The inclusion and coupling of both sculptures and paintings in the exhibition was phenomenal. The art was anthropomorphic, it hurt, it was dysfunctional and embodied the disorder of society, of history, it almost seemed to reproduce reality.
Picture of one of the sculptures displayed at Now is not Forever. Photo by Keletso Zwane.
Even if you wanted to look at the exhibition as a way to distract yourself, Mackintosh’s work forced you to look further than the surface.
Vuvu rating: 9/10
FEATURED IMAGE: Picture of a girl taking a photo of the art at the exhibit. Photo by Keletso Zwane.
An ode to Motown is for the lovers of classic nostalgic music and is a must-see performance.
On February 22, I attended An Ode to Motown, a production staged in celebration of Black History Month, at Joburg Theatre. What unfolded was more than a tribute concert; it was a vibrant, high-energy homage to one of the most influential musical movements to emerge from 20th-century America.
Motown, founded in Detroit in 1959, became the heartbeat of Black American music, introducing the world to artists who would shape pop, soul and R&B for generations. The show paid tribute to this rich history, revisiting classics that still resonate across continents.
There was not an empty seat in sight.
From the opening notes, the audience was transported into a world of polished harmonies, synchronised choreography and timeless storytelling.
The singing was exceptional, powerful yet controlled, capturing the emotional depth that defines Motown. The performers, Liesl Penniken, Lerato Mvelase, Tamara Dey, Hlengiwe Pearl, and Anele Precious Mthethwa, moved effortlessly through beloved hits.
An ode to Motown show image. Photo: Supplied/B Sharp entertainment
Hits such as “Mr. Postman,” “Ain’t No Mountain High Enough,” and “I’m Coming Out,” each song greeted with cheers and nostalgic excitement. The inclusion of “Cruisin”, “Call Tyrone,” and “Water Runs Dry,” along with two soulful renditions of songs by Erykah Badu, broadened the tribute to include neo-soul influences that echo Motown’s legacy.
Quotations from songs by Smokey Robinson added a poetic thread, reminding us of the lyrical genius that defined the era.
Visually, the production was stunning. The performers dazzled in gorgeous, extravagant gowns that shimmered beneath the stage lights. The intricate choreography was both elegant and dynamic, matching the vibrancy of the live band. The theatre itself seemed to pulse with the vibrations of an enthusiastic crowd, their energy feeding the performers on stage.
Yet the show also raises an interesting question: what relevance does Motown’s history hold for South Africa? In some ways, staging this tribute here is like hosting a concert in the United States commemorating the artists of Sophiatown. It is a celebration of a distinctly American Black cultural movement, performed for lovers of classic American music and for those who admire the monumental Black artists who emerged from that era. At the same time, it highlights the global reach of Black music and its power to connect polarizing histories.
Ultimately, An Ode to Motown was a joyful, nostalgic, and beautifully executed celebration. One that proves Motown’s rhythm still moves audiences, no matter where they are in the world.
Vuvu rating 9.5/ 10
FEATURED IMAGE: An ode to Motown, performance on February 22 at the Joburg theatre. Photo: Bonolo Mokonoto
Four seasons in, Bridgerton struggles with originality, yet it feels as genuine than ever.
Dearest gentle reader, in this highly anticipated new season of one of Netflix’s most-watched series, Bridgerton season four, part one, is not quite what we expected.
This season focuses on the notorious playboy Benedict Bridgerton’s love story and his quest to find life partner. He meets a lady named Sophie at a masquerade ball and makes it his mission to find her after she leaves the ball in a hurry. This season uses the Cinderella trope, but instead of a glass slipper, Sophie leaves behind a glove. This story line makes the story predictable, as many audience members are very familiar with this trope, it lacks originality.
A very interesting aspect of this new season is that we get an inside look into the servants’ quarters. We are offered a behind-the-scenes glimpse of how the lives of the rich and royal are kept in-order by those who are rarely noticed in these spaces. It is reminiscent of renowned period drama, Downton Abbey.
Through this shift in perspective, the series highlights the invisible labour that sustains the grandeur of high society. Lady Whistledown makes a point of exposing and sharing the stories of these workers, further emphasising their importance in society.
A carriage driver remarks on the behaviour within the ton, stating, “It’s thrilling for them, chaos for us.” This line emphasizes the immense labour servants must perform to maintain the magnificence or grandeur of the balls and social events hosted during the debutante season.
Throughout the Bridgerton series, Benedict has been depicted as sexually fluid, which makes his search for a wife this season feel out of left field and somewhat out of character.
It would have been more compelling to watch him seek companionship with both men and women, ensuring that the character development establishing him as pansexual in previous seasons, did not go to waste.
The chemistry between Benedict and Sophie is undeniable. This is the first season where the main couple get to know each other in a friendly manner, and this was entertaining to watch.
The playfulness and gentle ease they have with each other is refreshing, from the conflict we initially see with the previous main couples in the series.
Despite the predictability and missteps on Benedict’s character development, Bridgerton season four succeeds in feeling emotionally sincere.
This may not be the most original chapter in the Bridgerton storyline, but it proves that familiarity, when written well, can still be engaging.
Vuvu rating: 7.5/ 10
FEATURED IMAGE: Bridgerton season 4 review. Photo: Netflix
There is so much more to Danya Dev’s album than compliments to beautiful women and a flashy lifestyle, his story is worth listening to closely.
With the recent release of his debut solo album, Danya Dev (Sphelele Dunywa) officially took a hiatus from the Blaq Diamond duo to reintroduce himself. Titled Bayede, a Zulu greeting for a King meaning all hail, the project serves as both a grand entrance and a mission statement.
Across 18 tracks spanning 51 minutes, Danya Dev crafts a sonic world that is remarkably consistent: laid-back, atmospheric, and tailor-made for late-night drives or slow Saturdays.
While some listeners might think the use of typical Afro-pop and Hip-Hop themes, i.e. the allure of beautiful women, female gold-diggers, and flashy lifestyle, was a default genre move, the album is in fact thoughtfully structured as a two-act narrative.
The first act is about the temptation of fame. The journey begins with a man caught in the whirlwind of celebrity. He depicts a reality where his accomplishments and fame act as a magnet for women. On tracks like Uber Eats and Where were you, he highlights the transactional nature of modern romance, where status and ‘’nice things’’ drive attraction.
Danya Devs debut solo album playlist. Photo: Lulah Mapiye
The second act brings the story to a close with a sense of maturity. We see a man who has traded the chaos of the ‘’fast life’’ for the desire to build a home. The lyrics in Ola Sbali (Hi brother inlaw), Abakhongi (lobola negotiators) and 1 million signal a newfound respect for stability and partnership.
While the album features a heavy-hitting roster of guest stars, including Sjava, Kwesta, Cassper Nyovest, Ndu, Mawelele, most are given much time to shine except Sjava who sings for eight seconds in Uber Eats, which is extremely disappointing.
Be that as it may, Bayede does not try to reinvent the wheel, instead, it leans into a singular, steady vibe. It is a cohesive body of work that proves Danya Dev is more than capable of carrying a kingdom on his own.
Vuvu rating: 7/10
FEATURED IMAGE: Danya Devs debut solo album cover. Photo: Danya Devs
This short film turns the age-old question of “Does my partner really love me?” into a brutal survival metric that punishes emotional failure with deadly consequences.
I entered Love Economy blind, save for its AFDA Film School origins and a tantalising premise: a 12-minute Afrofuturist jolt set in a self-sustaining 2040 South Africa, where love isn’t just currency, it’s survival. The title hinted at romance’s commodification, but the poster, a couple in blissful union in vibrant traditional wear, the shine of their rings matching their smiles, juxtaposed by them facing away from each other against a white and pink backdrop, gave little away.
Love Economy grabs you in seconds, subverting expectations of another earnest indie tale of marital strife or rural drudgery. No slog through poverty porn here; instead, a Wakanda-esque utopia pulses with reclaimed luxury—padel balls sheathed in traditional prints, aerodynamic Xibelani skirts whipping on courts, flying Gusheshe taxis slicing neon skies and holographic dogs for the allergic. The heart of the film, The Love Meter, a digital tool, implanted at 21 in this futuristic South Africa amid mandatory marriage, tracks spousal affection: dip below viable, and you die.
Protagonist Rudzani (Ntokozo Nkambule) pours devotion into her cold husband Zak (Asande Zulu), but his learned infidelity and inability to emotionally care for her send her meter plummeting as she wrestles with “Makoti Must” edicts. Meanwhile, AI Thori—a Siri on steroids, house-bound monument—chimes warnings about his dangerously low love and suggests ways for her to fix it.
The film portrays gender and masculinity in 2040 as deeply intertwined with societal expectations and technological control, revealing the high stakes and emotional damage these norms inflict. Zak embodies the pressure to be the “perfect husband” within a rigid system controlled by the Love Meter. His attempt to fulfill prescribed roles despite emotional disconnect results in personal crumbling, highlighting the destructive nature of idealized masculinity that demands performance over authentic connection. And oh, does he perform. He loves Rudzani’s utility over her soul, and his masculinity’s high stakes crumble everyone involved: her social death is literalized through the plummeting Meter, while his escape is impossible.
The film critiques such masculinity as harmful not only to women but to men as well — both trapped in damaging roles. By making love a quantifiable survival metric that disproportionately affects women like Rudzani, it exposes how patriarchal and transactional aspects of love and marriage are enforced through technology. The story highlights women’s coercion to conform (“makoti must”) while navigating limited agency in relationships dictated by societal and state control.
Moreover, these dynamics link to ongoing South African realities, such as gender-based violence, showing how traditional masculinity and cultural expectations create festering harm technology aims to manage but ultimately cannot resolve. It calls for reflection on gender, care, and respect beyond social contracts measured by fear or obligation, advocating for love that transcends duty.
Directors Azwikonisaho Ramavhuya and Jaclynn Meintjes, alongside production designer Heebah Raji, infuse every frame with cultural colour theory, turning underrepresented Tsonga-Venda motifs into high-tech finery that screams African opulence, not capitulation. Visual effects artists Nkosisphile Ngubeni and Oamogetswe Tshenkeng craft seamless touches like wrist-bound meters, transforming Western imports into proudly African artifacts. The film’s feverish poetry in motion earned it nominations for Best Third Year Film, Screen Design Team, and Production Team at the 31st AFDA Graduation Awards.
Love Economy lands as South African Afrofuturism’s urgent milestone. Homegrown ambition proves we don’t need expatriate voices to conjure these visions. The plot doesn’t hand you answers — it shoves you into the meter’s glare and dares you: what’s love worth when it’s tallied like rations? In this kaleidoscopic 2040, does tech liberate hearts or merely ledger them? Watch, and ask yourself: are we already plugged in, or is true affection still off the grid?
Rating: 8.5/10
FEATURED IMAGE: LoveEconomy Poster. Image: Supplied/AFDA
When boy problems or heartbreak have you on shaky ground, Shekhinah’s Less Trouble comes in like a wave, and it’s strong enough to drown you in your feelings.
Crowned as one of South Africa’s most celebrated voices, Shekhinah is back to prove that her music still hits where it hurts. Four years since the last album, Trouble in Paradise, her return is a reminder of just how good she is at what she does.
Shekinah’s album Less Trouble features several artists including Lordkez, Moliy, Young Stunna and Mars Baby.
A year ago, she released two singles, “Steady” and “Risk”, offering listeners a preview of the upcoming album’s direction.
“Devil in disguise, trouble in your eyes, every single time all we do is fight.” With these lyrics, Shekhinah sets the tone from the very start. The opening track, “Break up season”, lays the foundation, hinting that the album will centre on the highs and lows of relationships.
From her album Rose Gold to now, she’s stayed true to her signature sound, rarely chasing trends or charts, and instead focuses on making music that ages like fine wine.
Shekhinah’s album cover. Photo: Shekhina’s IG
On track 3, “Bare minimum”, Shekhinah strikes a chord with anyone who’s ever been given the bare minimum in a relationship. She reflects on asking for little yet receiving even less and ultimately reaching the point where letting go becomes inevitable.
The playlist opens with a sense of tension and frustration but soon transforms into bursts of pure joy. By the time you reach track 7, “Spoonky”, it feels like freedom itself, like cruising down the freeway with the windows rolled all the way down, warm wind rushing against your face, palm trees swaying past in a blur. You’re singing off-key, laughing uncontrollably with the love of your life in the passenger seat, every worry dissolving into the sunset. It’s a moment of pure happiness bottled in sound.
“Less trouble” isn’t just an album; it’s a celebration of love, happiness, and the freedom to finally feel complete, just as she says on “Spoonky”, “you’re the one that I want”.
Rating: 8/10
FEATURED IMAGE: Shekhina’s album cover. Photo: Shekhina’s IG
A powerful series by Paul Weinberg captures the human experience in an oppressive society.
A room full of pictures that mirror our society as it was and now is. A new photographic exhibition at the Wits Arts Museum showcases history and collective trauma.
The museum filled with Paul Weinberg’s work told so stories through photographs. Bringing together nearly five years of Weinberg’s work, most of the exhibition was filled with black and white archival images, which was one of the things that caught me by surprise.
One of the photographs taken by Weinberg on display shows P.W Botha taking a salute at a military parade in 1980. Photo by: Kamvelihle Mtwazi
The collection released, “Between the craft” displayed pictures that were thought-provoking, informative and had deeper meanings. Each image highlighted themes, from oppression to reconciliation and allowed the audience to construct their own perspective.
One of the images captured was of the ‘boers’ with their guns in an authoritative position and their young black farm workers. These photographs were not just captured; they were telling stories, testimonies, and a call to action, to end the oppression of black people.
Weinberg created a dynamic non-linear story that still guided the audiences’ interpretation of his messages. This was done through the arrangement of the images and the titles.
“Intro, Travelling Light” was a photo series displayed the ‘dark days’ black people faced during Apartheid. It embodied that “between the cracks, life continues with its pain and joy,” with a range of images displaying people rejoicing even in times of oppression. Creating the light for themselves during dark times.
“Then and Now” mirrored society’s revolution of what was, and what became. Capturing protests, brutalities, deaths, and funerals. Weinberg added “I didn’t enjoy it,” in his caption. This is what inspired him to look into religion and spirituality.
“Moving Spirit” included moving pieces that focused more on spirituality than religion, which dropped the idea of division between colour, gender, and class.
The sky-blue wall representing the liberation in spirituality. Photo by: Kamvelihle Mtwazi
Weinberg expresses his gratitude to have experienced various kinds of spirituality where all these themes were not important, “travelling in pursuit of the spirit,” he captioned in one of his pieces.
An image that touched me the most is a photograph of two elderly sisters, re-uniting after 20 years of separation, after their removal in Riemvasmaak, 1995.
The second floor of the museum had walls of colour: orange and sky-blue, divided by a wall of black and white images with a white background. This was a lovely way to narrate the ending of the stories.
The first wall was bright orange, filled with frames of beautiful landscapes, taken from all over South Africa, titled “Earthsongs”.
The overall experience was thought-provoking, and the touch of colour at the end represented the light at the end of the tunnel.
The exhibition is an experience pleasing to the eye, because the images were boldly expressive of emotions.
Vuvu rating 10/10
FEATURED IMAGE: An image of two elderly sisters, reuniting after 20 years of separation, after their removal in Riemvasmaak, 1995.
Legendary storytelling through soothing melodies, a journey you don’t want to miss
If you’re an old soul like me, you will appreciate Ringo Madlingozi’s new album, Ikhwelo, a musical feast for the ears, with rich instrumentals and soulful vocals that speak directly to the heart.
I must admit, it took some time to get used to the new style. Some tracks feel a bit too different from Ringo’s original sounds.
The very first song, uQamata is quite peculiar, with beats and underpinning riffs. Ringo shows off his vocals with a subtle vibrato pitch, adding warmth and expressiveness. I listened to more and appreciated the nuances.
For every song the instruments are given so much room to shine, creating a soundscape that’s both soothing and thought-provoking.
The song Hello Bhabha starts with a catchy whistle (ikhwelo) and follows to a chorus “Hello baby, hello dali, hello lovey, hello sthandwa sam, kudala ndilindile” that adds a touch of charm. I was taken aback and reminded of his earlier hit, Into Yam featuring Oliver Mtukudzi,which explores the perks of a sweet, innocent relationship.
Although this new album is more laid back and mature, we still find elements of melodies, instruments that shine with delicate guitar work, subtle percussion that adds depth to music and breath-taking harmonies in the background.
You might expect a more upbeat and energetic sound, however with Ikhwelo, settle in and indulge into a more mellow vibe, the perfect antidote to a busy world.
Vuvu rating 8/10
FEATURED IMAGE: Ringo Madlingozi’s new album cover image. Photo: Ringo Madlingozi’s Instagram
Africa brought its own unique take on black dandyism to the biggest night in fashion, blending cultural pride with bold fashion statements.
African stars embraced the 2025 Met Gala theme, Superfine: Tailoring Black Style, and represented our fashion history while doing so. The event celebrated the impact of dandyism and black men’s style on tailoring and menswear.
This year, Africa didn’t just get a seat at the table. It bought the whole thing.
In a historic first, Africa Fashion International (AFI), a marketing, retail and development organisation, was a sponsor at the Met Gala. Founder, Dr Precious Moloi-Motsepe, walked the red carpet wearing custom David Tlale.
Her presence wasn’t just symbolic, it was a powerful statement of Africa’s growing influence on global fashion. As a South African lover of fashion, seeing her on that red carpet made me proud.
My three standout guests from the continent were the African giant himself Burna Boy, songstress Tems, and South Africa’s own Nomzamo Mbatha, who all interpreted the theme through looks that merged cultural pride and global fashion trends.
Styled by British-Ghanaian designer Ozwald Boateng, Burna Boy looked dapper in a sharply tailored red suit and oxblood cape made of eel skin.
He told Vogue that his look was a nod to his roots in the Niger Delta. “The eel and fish in general are the lifeblood of my people. They symbolise survival, spirit, and the flow of tradition through generations,” he said.
Tems stunned in a dramatic blue gown with a mermaid-style hem, also styled by Boateng. The peacock print at first glance reminded me of the traditional shweshwe fabric found in South Africa.
Her braided hairstyle topped off her interpretation of Afro-dandyism. “I wanted to express this theme in a way that was true to me and paying homage to my West African roots,” she told Harper’s Bazaar.
Wearing a bold burgundy two-piece outfit by MmusoMaxwell was Nomzamo Mbatha, who attended as the AFI red carpet correspondent. The crème de la crème of her look was the intricate updo that screamed unapologetically African.
While many guests focused their outfits on European tailoring, these African stars reminded us that black dandyism was never just imported, it’s long been alive in Africa.
In Congo, the sapeurs have turned heads since the 1960s, wearing brightly coloured suits and shoes from designer labels, that they often purchased against the odds.
Their style isn’t just about flair, it’s defiance. A way for men across generations to make a statement of joy and pride amid their difficult circumstances.
In 1950s South Africa, swenkas became a popular subculture among Zulu migrant workers, wearing tailored suits, fedora hats, and patterned ties. They competed in fashion competitions that showcased their dignity, against the backdrop of a dehumanising apartheid regime.
By the 2010s, skhothanes took centre stage. They were flashy and fearless, and known for their dance battles (and those infamous Carvela shoes).
These subcultures show that African men have used fashion to speak volumes, long before any Met Gala invitation.
This year’s theme was about more than just fashion, it was about retelling our history through style.
FEATURED IMAGE: African stars brought their own cultural flair to the Met Gala’s theme of ‘Superfine: Tailoring Black Style’. Graphic: Mbali Khumalo.
Sinners is a genre-defying film that follows twin brothers, Smoke and Stack, as they return to their hometown to open a jazz club for their neighbourhood – with terrifyingly unexpected consequences.
Sinners is a supernatural horror epic that will surely leave viewers hooked and inspired
Ryan Coogler makes history by retaining creative control and getting the box office first-dollar gross
The film seamlessly blends music and horror with rich African American culture
Set in the 1930s in Mississippi, the opening night of the club unwittingly summons bloodthirsty vampires, leading to an epic final battle that sees the film take on an unnerving and damning climax. While Sinners incorporates musical and horror elements with American gothic fantasy, director, Ryan Coogler is keen to highlight that the film transcends typical genre boundaries.
By setting the story in the racist deep south of the United States, Coogler creates a narrative that is both chilling and thought-provoking. He flips the white saviour complex on its head through the film’s main vampire and antagonist, Remmick. Smoke is a noble protagonist & Michael B. Jordan did an amazing job playing the twins – with Stack being a terrific and nuanced villain.
The film’s scene stealer is Wunmi Mosaku. Her arresting performance as a hoodoo practitioner and Smoke’s wife, Annie, brings a quiet grace that warms the big screen. The chemistry between Smoke and Annie is palpable and their relationship really anchored the storyline’s emotional pull.
Sinners isn’t just a bold cinematic vision – it also stands as a landmark in filmmaker autonomy. In a rare deal with Warner Bros., Coogler secured first-dollar gross, meaning he earns from the film’s very first ticket sale, a privilege usually reserved for box office royalty. He also retained final cut rights, giving him full creative control over the film’s edit.
Most strikingly, he negotiated a reverse of ownership after 25 years, allowing the film’s rights to revert fully to him-which is nearly unheard of in Hollywood and reflects a growing shift toward creator-led power in studio filmmaking. The film’s cinematographer, Autumn Durald Arkapow, previously worked on Black Panther with Coogler. Coogler says “This cast reminds me of the Panther films, but in a way it’s maybe more exciting in that when audiences watch this…” noting that the cast built a community during filming much like the Black Panther cast.
Sinners is a love letter to the art of filmmaking and music. Collaborating closely with iconic composer Raphael Saadiq, Coogler ensures that the film’s music and score is integral to its storytelling. The fusion of blues and jazz music through Miles Caton’s character, Sammie, serves as a conduit for understanding the complexities of Black religious identity while navigating an artistic calling in music.
Sammie, a cousin of the twins, was the best character and Caton’s complex performance is arguably the strongest. It was heartfelt, relatable and his richly husky singing voice fills the entire cinema. I absolutely loved the immersive cinematography and sound production; it was crisp and spectacular! The awe-inspiring montage showing the different eras and cultures of Black music was an enthralling choice to include. It was beautiful, but felt out of place in the storyline’s progression and it took me out of the movie for a second – which isn’t something I always like when I’m tuning in.
Overall, the film is jarring and nuanced but in a captivating way that will surely inspire dialogue amongst viewers. A definite must-watch for anyone who enjoys a solid & well-written movie.
Vuvu Rating: 9.5/10
FEATURED IMAGE: Sinners Theatrical Poster Release Photo: Supplied/Wikipedia
The multi-award-winning artist continues to prove that he has mastered the art of capturing his listeners’ emotions with his sound.
Since debuting in 2018 with his album “USHUN WENKABI”, Big Zulu’s versatility has made him one of the most complete creators in South Africa’s music industry – and his latest offering is one worth listening to.
Big Zulu’s fifth studio album, ICALA LE MPUMELELO dropped on April 11, 2025, featuring several artists including Shwi Mntombazane, Nkosazana Daughter, Zakwe, Siya Ntuli, Zeh McGeba, Zee Nxumalo, Aymos, Maseven, Emtee, Toss, Sir Trill, Xowla and Zakwe – on songs ranging from hip hop to afro pop.
Big Zulu’s music is the kind that one effortlessly falls in love with. After listening to the album only once, I was captured and able to pick the tracks that stand out the most.
Unlike some artists who make music based on trends, Big Zulu invests in making music that has a message, resulting in longevity of his work because what he sings about is relatable.
In the album’s opening track titled “ICALA LE MPUMELELO” the artist tells a story that many in South Africa relate to – raised by a caring grandmother who worked as a maid to provide food on the table, taught him survival skills, then succeeding against all odds.
“MTHULISE”, “MINA NGEDWA” and “MBALI YAMI” demonstrate the artist’s consistent devotion to love songs. Track 2, MTHULISE, stands out as an emotional and sad song. The artist sings about the challenge of being in a relationship with someone who is an orphan because when they cry, you also cry.
Big Zulu takes listeners on an emotional rollercoaster – from sadness to feeling like turning up in a club with friends vibing to “iNkululeko”, a rap track featuring Toss & Sir.
In a song already released in March, “ABAZAZI BAFUNANI” featuring Emtee, Big Zulu appears to have turned their rivalry into a beautiful collaboration.
This is certainly an album worth listening to.
Vuvu Rating 7/10
FEATURED IMAGE: Big Zulu’s album cover. Photo: Big Zulu‘s Instagram
A new musical weekly incentive to get over blue Mondays.
“I love you all and I’ll, see you here next week!” Those were the parting words of Carlo Mombeli, associate professor and the head of Wits University’s Music department. Mombeli’s words were not only an indicator of the intimate feel of the room but also a reflection of his intentions.
Wits Jazz Tuesday’s is a weekly musical showcase put on at theWits theatre lobby by the students and staff of the university’s music department.
Writing this, I felt like a miner who had just discovered gold or a scientist who had just uncovered the inner workings of one of Earth’s many mysteries.
Two audience members performing an item. Photo: Sechaba Molete
The night was ushered in with the cry of the first musician’s trumpet. At that moment, the theatre lobby turned into a terminal with the audience members being passengers eagerly awaiting a journey that transcended space and time.
Words cannot adequately substitute the feeling of physically being present at the feet of a live music ensemble, but in my attempt to use a linguistic medium, I would describe Wits Jazz Tuesdays as a place for community.
The Wits Jazz Tuesday community survives off an ecosystem made of jazz lovers, musicians (instrumentalists and vocalists) and aspiring musicians. Mombeli’s hands-on approach to leading this weekly musical gathering further strengthens its community feel, with him encouraging audience members to showcase any of their musical abilities while he volunteered one of his students to back them up.
The tapping of shoes on the ground, the nodding of heads, the closing of eyes and the occasional yelling of inaudible sounds were all markers of a common understanding and appreciation of the jazz genre.
The programme began with pure jazz and improvisation by specific student bands selected in advance. As the evening progresses and audience members are invited to perform, genres such as indie pop and alternative music become more frequent.
The evening struck the right balance between indulging the tastes of jazz fanatics and virtuosos while catering to the tastes of music lovers in general.
Wits Jazz Tuesday’s was an interactive experience that demanded engagement. Midway through the programme- Mombelli asked everyone to participate in creating the evening’s soundtrack by mumbling in a specific tone. Despite the awkward giggles and concerned comments that followed this request, Mombelli remained committed to democratising jazz and its creation.
This was further reflected in his decision to make the showcase free and invite everyone to join him and his students again next week. It was a fun and heartwarming experience. Its inclusive nature is reassuring and relaxing. The weekly showcase on Tuesday evenings serves as a reward for surviving Mondays!
I would give it a solid 9/10.
FEATURED IMAGE: An image of Wits University’s music students performing a song
In episode six of We Should Be Writing season 7, the team unpacked the evolution of music as a form of expression and protest, through four decades in the South African context. The episode explores the journey of South African music and its consumers from the 80s, 90s, early 2000s and contemporary listeners. From the […]
