After decades of turmoil during apartheid and the political violence of the 1990s, Y2K flew in solid with the smash hit Nkalakatha by kwaito superstar Mandoza.
We had safely made it to a new millennium and a hope-filled youth wanted to party.
The song, which according to award-winning producer Gabi le Roux was made just weeks after the birth of Mandoza's son Tokollo, was produced while the musician was at his happiest. It became an anthem in all households and parties across SA and it’s arguably the biggest crossover song to come out of the country. With his deep, gravelly, distinct voice and signature sunglasses, Mandoza made sure we knew that kwaito was still there to stay.
“Till today, you go to any bar mitzvah, a wedding or office party and Nkalakatha will be played. It doesn't matter your race. The song had a rock feel that appealed to people and, of course, his voice was loved,” commented Le Roux.
Nkalakatha was one of the first crossover kwaito songs that was played on predominantly white radio stations of the time such as 5FM, making Mandoza one of the biggest superstars. A quick YouTube search 21 years later pulls up a wedding video where an old white man is seriously getting down to the song.
Though most of us know the star because of the record, he rightfully wanted to be known for his body of work that included being a part of the legendary group Chiskop, which he founded with his childhood friends Sibusiso Thanjekwayo, Siphiwe “The General GTZ” Sibisi and Sizwe Motaung.
The 2000s epoch brought music that was hot and musicians such as Freshly Ground, Malaika, Mafikizolo, Prokid and Zola found their feet and audience.
It was Prokid's hip-hop song Ungaphel' Umoya Son that showed us that despite the success some in our communities were enjoying in the new SA, the majority of black people were still facing the consequences of brutal apartheid legacy.
“Ungaphel' Umoya Son... ey this one is ‘specially dedicated to you out there suffering... Letting you know that sisonke'," Pro famously rapped.
Zola's impact also cannot be denied. His music discography from Umdlwembe and Bhambatha, to being the sound behind Oscar-winning movie Tsotsi, to his work on television with shows such as Zola 7 and television drama series Yizo Yizo makes him an arts and culture icon in his own right. The man could not go anywhere without jubilant children running after him and throwing up Zola 7 signs in the air.
It was the likes of these musicians who wanted to be on SA's hottest youth station YFM where Fana Khaba, popularly known as DJ Khabzela, bought us magic with his lively personality and fresh content to the youth's hungry ear.
His relatability made him one of the most popular radio DJs of the time. He made it out of poverty and so could you, was his stance. This naturally made him a favourite with underdogs, prisoners and taxi drivers.
But the DJ shocked the nation when he announced to his fans that he was HIV-positive, making him the first black male celebrity to openly disclose his status. A month before he died, Khabzela received the Nation Builder Award in 2004 for his contribution to destigmatising HIV/Aids.
Khabzela's death from Aids complications brought a sharp focus to the failure of the Thabo Mbeki administration and late health minister Manto Tshabalala-Msimang in bringing the treatment of HIV to the forefront in SA. Despite Khabzela's privilege and access to the best medicine, he became one of the 300,000 South Africans that died without antiretroviral treatment.
Afro-pop star Umanji, who brought us the hit Moloi, which tackled the controversial topic of ageism and beauty politics in his village of Mogoto in Zebediela, Limpopo, was another star who died from an Aids-related illness in the early 2000s. The South African Music Awards winning star bought us albums such as Wantolobela and Ndlala before his death in 2008.
Abashante star Zombo also died in the same year having contracted the deadly virus. Famous or ordinary, Aids had no mercy for the promising youth.
TV show One, later known as Live Amp, modernised radio style TV shows that continued showcasing the new wave of talent. Personalities such as Andile Ncube and Bonang Mathebe successfully debuted on the small screen.
With kwaito and house music dominating the airwaves and TV shows such as Jam Alley, it was a pleasant surprise to a young Simphiwe Dana when her music captured the heart of the country.
At 24, she released the timeless album Zandisile, which had hits such as Ndiredi and Ingoma in an era where the new SA was still finding itself.
“Zandisile was inspired by a hope for a better and a new day, especially for the youth. This was a time to explore black identity in SA and understand who we were in a postcolonial country. It was a time for a new discovery, a self-discovery,” Dana said.
It was this beautiful encapsulation in her art of what it meant to be black and young in SA and her undeniable Xhosa beauty that cemented her as an icon. Her 2005 Sama wins as best newcomer and best jazz vocal album was just the beginning of a phenomenal career that has spanned 16 years.
“I was in disbelief that my music was so well embraced. It was a time when kwaito and house music was so popular so I was astounded at the reception,” she said.
Reigning as the “new Miriam Makeba”, Dana says she has always loved the Pata Pata star and is honoured the comparison is part of her legacy.
“Being compared to Miriam Makeba was very empowering. I grew up listening to her music and that sound was very familiar to me. This was music I listened to in the village at initiations and weddings. It made me feel that I was not out of place. This was the sound that inspired me to write music.”
The now 41-year-old musician adds that though she has had many highs in her music career, such as performing at the Cape Town Jazz Festival, The Queen Elizabeth Hall and the Apollo, she wants to be remembered for her activism and being named the convener of the AU’s arts and culture festivities.
“I would hope one of the things I am most remembered for is my sense of justice and my bid to humanise our experiences through music and my activism.”
The early 2000s was a special time for jazz music. Judith Sephuma bought us the critically acclaimed album A Cry, a Smile, a Dance. We also met the lovely Zama Jobe with her song Ndawo Yami. Established artists such as Sipho Gumede, Sibongile Khumalo, Jabu Khanyile, Vusi Mahlasela, Jonas Gwangwa and Selaelo Selota were also still giving us classic works firmly putting SA jazz at the front of the pack.
The Durban sound, led by the indefatigable DJ Tira, made itself known during this explosion of new talent.
Tira garnered attention with DJ Sox when they founded Durban's Finest, a group that would set the house music scene on fire. Tira later launched Afrotainment, signing a new wave of KwaZulu-Natal heavyweights DJ Cndo, DJ Fisherman and Big Nuz.
Big Nuz and DJ Tira dropped Umlilo just in time to bow out of 2009 and a year later cleaned up at the Samas.
In the early 2000s, we were seeing the likes of Loxion Kulca, Stoned Cherrie, Magents. All of these people were playing a major role just after democracy. Before them fashion was not an industry, it was a trade. Before 1994 fashion was just know as dress making
— David Tlale
House musicians with a jazz flair such as Zakes Bantwini dominated the charts with songs such as Juju, which was one of the rare house songs of the 2000s that allowed a vocalist to share equally in the fame of well-known producers such as Black Coffee. His spectacular dance moves in the iconic music video won them the best music video award at the Samas.
House vocalists Bucie (Superman), Winnie Khumalo (Live My Life) and Bongi Dube (Go Around) also made big splashes. Culoe de Song, Rhythmic Elements, DJ Cleo, DJ Ganyani, Lulo Cafe, DJs Vetkuk vs Mahoota, DJ Sbu, Fistaz Mixwell, DJ Kent and many more served up a tasty menu for house fans.
But it wasn't just musicians and actors whose art was impressing the world. This was the era where we were introduced to the indomitable David Tlale.
SA fashion was a fledgling industry but was closely intertwined with music and the African renaissance. Iconic brand Loxion Kulca, founded by Wandi Nzimande and Sechaba Mogale, bought SA streetwear to the top with celebrities such as Zola, Khabzela and TKzee often wearing their threads.
“In the early 2000s, we were seeing the likes of Loxion Kulca, Stoned Cherrie, Magents. All of these people were playing a major role just after democracy. Before them fashion was not an industry, it was a trade. Before 1994 fashion was just know as dress making,” said Tlale.
Tlale's decision to drop out of auditing school to pursue his passion has led to a phenomenal 18-year career.
“I think dropping out was the most memorable moment of my career. I was in a class and I decided I wanted to be a fashion designer,” he recalled.
It was this bravery in following his dreams that won him the Elle new talent gong at SA Fashion Week and he later became the first solo SA designer to debut at NY Fashion Week. Tlale also accomplished a huge feat when he held a fashion show with 92 models on the Nelson Mandela Bridge in honour of Madiba's 92nd birthday, a fashion history moment.
“I want to be remembered for beautiful garments and luxury. I want [it] to be remembered that a black child born in SA made a brand that we associate with luxury,” said Tlale.
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