DJ Maphorisa describes his upcoming Scorpion Kings Live [with Friends] concert as a love letter to 2019 – a pivotal year when amapiano was still an underground force that echoed at kasi grooves, and thumped through taxi speakers.
Songs like Amantombazane, Lotto, eMcimbini, and Banyana weren’t just hits – they were cultural timestamps that marked the genre’s breakout moment.
For Maphorisa, born Themba Sekowe in Soshanguve, Pretoria, the upcoming concert at Loftus Versfeld Stadium next month is both a tribute to that raw, creative energy and a reminder of where it all began… long before the genre’s global acclaim.
Having cemented himself as a producer, curator, and sonic visionary, DJ Maphorisa's hand in shaping the amapiano sound launched many household names into the spotlight, names such as Kabza de Small, Kamo Mphela, Uncle Waffles, Felo Le Tee, Scotts Maphuma, Focalistic, Tyler ICU, Musa Keys, Dlala Thukzin, DBN Gogo, Sir Trill, Daliwonga, Young Stunna, Toss, Mr JazziQ, Kelvin Momo, and many more.
From selling sweets in high school to fund his music dreams to co-producing Drake’s 2016 global hit One Dance, the 37-year-old, also popularly known as Madumane, told Sowetan that his career has been defined by reinvention and cultural foresight – a journey he hopes will come full circle through a direct collaboration with Drake.
How do you feel about the “Hao Khonagale” pose going viral?
[Laughs]. I was just simply LIVE on Instagram trying to address an issue that I had. My fans caught me off guard when I least expected it. Somehow, they found “hao khonagale” to be funny, and they took it and made it go viral. It exceeded my expectations at how big this saying got, but at the base of it all, people found it to be fun and entertaining… something we strive to do as musicians.
How do you feel about being embraced by your fans?
It gives me joy to know that I have millions of people who love and support me. Sometimes you’d be going through hurdles and challenges in your life, but knowing that you’re making someone’s day through your craft is priceless. One time, a woman found herself in an elevator with me, and she didn’t know what to do, so she did the “hao khonagale” pose, and I laughed. Such things give me strength.
What would you say to the 12-year-old Maphorisa?
Hold on and be strong—what’s meant for you will find its way, in time. As one is growing, many events take place, sometimes things are up, and at times they are down, but in all of it, there is growth, and you look back appreciating certain things that built you.
What do you remember most about the teething moments of amapiano?
I remember how crazy I was about this genre; I had sleepless nights trying to perfect it. It felt like a calling to me, more than anything. I was obsessed and quite focused on the goal of making amapiano known. I saw it as my responsibility and duty to break ground for this sound.
I’d follow Kabza [de Small] at gigs just to learn the sound… I’d study it and listen with a close ear, I even shut down my knowledge as a producer because I didn’t want to influence what I was learning from it. It was such an interesting experience, especially seeing how the genre ended up blowing up many years later.
How did you feel about the first amapiano hit?
It was Amantombazane. During this time, amapiano didn’t have its various styles like it has today— that movement only had instrumental. So, Kabza started fiddling with vocals on songs like Umshove and Bamba La, and then De Mthuda changed it by adding some flavour with Shesha, which was the first melodic song that influenced Amantombazane [in 2019]… this song became a commercial hit that ticked almost every box— this changed the entire music game.
What do you have to say about the global attention on South African music?
It’s wonderful that we have our own sound that people enjoy and love, but despite all of this, we as musicians still need to keep creating, evolving and discovering more sounds. There’s lekompo that’s also taking over the country… It’s a sound that I’m a fan of— what I’ve noticed is that lekompo, 3-step and afrotech took elements from amapiano, which speaks to the influence of the genre's evolution.
I also wish that our musicians grow their footprint abroad and appeal internationally. For them to get paid in a different currency, but no matter how big one becomes, they should never abandon their fans here at home. They should strike a balance of performing outside the country and here at home; this way, their core fans never feel neglected, and they are not out of touch as a musician.
What’s your word of advice to young talent that’s sitting at home?
Be patient, but don’t stop honing your craft. Things are a lot easier for this generation. I’m approaching 40, it took me time to break through into the music industry, and get working. They can also learn a thing or two from my career, which will help accelerate their come-up.
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