Not all superheroes wear capes, and Sho Madjozi has shown that some wear a xibelani (traditional Tsonga skirt).
Her kryptonite is the unashamedly robust and unwavering lyrics that celebrate her Tsonga pride and heritage.
By remaining authentically herself, the musician from Shirley village in Elim outside Louis Trichardt in Limpopo, has been a revelation. In the process, turning the universe into her playground.
This is Sho Madjozi’s movie, we just happen to be cast as extras in it. Every young girl, their mother and auntie have mimicked her kaleidoscope fashion and rainbow braids. The fast-paced xibelani dance choreography to her hits Dumi Hi Phone, Huku and John Cena is the cardio workout we can all sign up for.
Sho Madjozi has taken this once marginalised culture and repackaged it with pearlescent paper for a new cool generation. Shangaan disco trailblazer Peta Teanet, Thomas Chauke and Penny Penny have walked the walk so that Sho Madjozi can run the world.
“The language is melodic and even if you are not Tsonga you can sing it. We are well represented by Sho Madjozi; she came with her own style and took what we started further,” Penny Penny praises.
Sho Madjozi leads a new wave of local musicians that have been both experimental with their unique sounds and uncompromising of their birthright.
KwaZulu-Natal singing duo Blaq Diamond are modern-day rock stars with a sound they have coined mbube (lion) that is heavily influenced by their musical hero Joseph Shabalala. Mbube is, of course, a nod to Solomon Linda’s famous song from the 1930s. Listen to Summer Yo Muthi and Ibhanoyi to find out what I’m talking about.
Focalistic is genre-blending, the music style of local hip hop and Amapiano. His sonic catchphrase, “ase trap tse ke pina tsa ko kasi” brilliantly capture his DNA. The Sepitori (Pretoria lingo) slogan loosely translates to: “this is not trap music, it’s songs we listen to in the township.”
Babes Wodumo has shown why the wavy bass beats and ear-splitting screams that frame Gqom gets the ground-shaking and triggers wild foot-stomping dance moves from listeners. No surprise that not even Black Panther couldn’t resist Wololo.
Distruction Boyz (Omunye), Faka (Uyang'khumbula) and Dladla Mshunqisi (Pakisha) are other Gqom trailblazers. Not forgetting DJ Lag, that’s if he’s not collecting his coins from American musician and producer will.i.am over sampling his song, Ice Drop, without his permission. Black Motion’s winning genetic code has been the technique, beauty and art of dinaka, the traditional Pedi song-dance genre.
With her bangers Matorokisi and Murahu, Makhadzi is taking Limpopo’s popularised "Tsa Manyalo" genre to the mainstream.
From TikTok to nightclubs and Lockdown House Party, the Yanos are all the rage. The kids are listening to Kabza De Small, DJ Maphorisa, DBN Gogo, Kamo Mphela, Major League Djz and De Mthuda.
Beyoncé can’t get enough of our girls Moonchild and Busiswa. Alexa, play My Power!
But Afropop still dominates airwaves with a legion of hits including Loliwe (Zahara), Nomvula (Nathi Mankayi), Umamam (Sjava) Inde Lendlela (Ami Faku), Mthande (Musa) and As’phelalanga (Vusi Nova).
R&B is experiencing the biggest local revival since TK with Elaine (You’re The One), Langa Mavuso (Sunday Blues) and Ayanda Jiya (Go Go Girl). The enigmatic, soulful and melodic genius of Nduduzo Makhathini, Bongeziwe Mabandla and Nakhane have captivated world stages.
Holly Rey’s swagger makes her this generation's PJ Powers with a mix of Claire Johnston and Tamara Dey. It’s no surprise that only she can make President Cyril Ramaphosa get down and dirty.
She made history in 2019 with her song Deeper by becoming the first woman in 20 years to scoop record of the year at the SA Music Awards. Last person to scoop it was Brenda Fassie with Vulindlela in 1999.
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