IQHAWE ISSUE 11: THE ELEMENTS OF MUSIC

ISSUE 11

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Founder & Editor-In-Chief

Pretty Renae Mangena

Vice-Editor & Head of Social Media & Creative Director

Anastatia Nkhuna

Head Graphic designer & Illustrator

Onti Seroalo

Content Producer & Art Direction Head Photographer

Ntokozo Mabuza Thapelo Kekana

Photographer

Zembe Mondhlana

Video Editor

Anastatia Nkhuna

Content Writers

Michè Edwards Unam Ntsababa Garry Chagwe

Copywriter

Motshidisi Mokoena

Copy Editors

Noni Silomo Keamogetswe Mere

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Features: Espacio Dios

Astryd Brown

Kazi Ya Sanaa

Benzo

ROHO

Tasha HendrixX

Kat Upendi

Venus Raps

Le Nanza

Fentse

No Diggity

Filah Lah Lah

Uncle Scroogy

Kuchi Cola

Nouveaux

Naye Ayla

Lebogang Dinga (In the Lab)

Sibahle

Special Thanks to the Commune & The Forge Nala Xaba Nonzuzo Gxekwa Lweendo Hamukoma

In collaboration with Trace TV x GFC AMPD Studios by Old Mutual

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had a hard time writing this letter because it has been so long since I have written an Editor’s note, and simply because I couldn’t decide on what to write about. But anyway, here goes nothing. Firstly, If you have been reading my editor’s notes since we launched IQhawe, I would like to give a shout out to you, you are a real one. I have been treating these like diary entries, so I would like to keep this one a bit shorter. I usually have a lengthy motivational write up that speaks to some personal experience I have had as a creative, then provide some words of encouragement at the end with the hopes that I have helped or spoken to someone who needed to hear it. But with this note, I have no words of encouragement to give, but rather, I leave you with these words:

“Stop trying so hard to be someone you’re not.”

- Issa Rae This issue has the biggest number of features, and to say I am proud would be an understatement. It aims to shine the spotlight on women raising the bar in the Hip Hop industry and shifting the hegemony, LGBTQI + identifying artists standing proudly on stage, the new souls in R&B, AfroSoul and Neo-Soul, and the alternative kids breaking boundaries in sound and in defining independence. We hope you enjoy this one because making it was honestly something magical.

Till next time.

Pretty Renae Mangena

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DISRUPTERS

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Espacio Dios 08 Kazi Ya Sanaa 10 ROHO 16

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PRODUCERS & DJS

Kat Upendi 20 Le Nanza 22 No Diggity 24 Uncle Scroogy 26 Nouveaux 28 Lebogang Dinga (In the Lab) 30

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03 WOMEN SHIFTING HIP HOP HEGEMONY

Astryd Brown

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Benzo 34 Tasha HendrixX

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Venus Raps 40

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WOMEN WITH SOUL, RHYTHM & BLUES

Fentse 42 Filah Lah Lah

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Kuchi Cola 48 Naye Ayla 52 Sibahle 54

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IQHAWE 11

Who‘s Espacio Dios?

My name is Espacio Dios, born Masego Makganyoha, I grew up in Mafikeng and I am now residing in Johannesburg.

I want to find out more about your present, where are you right now? John mentioned you are working tirelessly on a project, please share with me?

I am working on a couple of things like shooting visuals for my released music and I am working on my next album.

In 2020 you released Son of Uri, please share the process? Did you feel like you accomplished your goal to make good music?

Son of Uri started when I was working on my first EP so when making it I was already thinking around Son of Uri I sat with it and no longer resonated with some elements of it so I scraped the old Son of Uri from 2018 and I made the one you all know now in 2019. I am happy with my growth regarding Son of Uri and how it performed.

How have you found the business of music when dealing with finances, contracts, royalties etc. Has it ever taken the fun out of you creating good music?

My previous experience with the business of music has fortunately not messed with my music. I recall a challenge I had with a manager that didn’t understand me. I felt they did not take into consideration what I wanted to be and where I want my music to go - their plans for me didn’t align with my art. That’s when I met John, who understands what I want and that the art comes first.

“Music as preservation of our mother tongue”...does you singing in Setswana, Zulu, Swahili, and many other African languages have a deeper meaning to it, or was it a matter of expression? When producing the audio experience do you take into account your roots for instance Jabulani which has Tswana traditional sonics?

I am Tswana and I have a Zulu family and my Dad is Pedi so I grew up with these languages being my culture and I wanted to express it in my music. I want my music to feel like home and that’s my inspiration. I have no boundaries in creating. I am being true to myself and it is my identity. I am proud of being African and I make music that proves that.

Let’s talk about your relationship with Muzi. Is it good vibes only? How has it been like creating with him?

Muzi and I are like brothers; creating with him is easy. Everything we make merges well. Our relationship informs the music we make so it is good vibes only. It is organic and true to ourselves.

You signed a publishing deal with BMG records in the UK what did this deal entail?

This is a big deal for me because I am independent and I own my masters and publishing so when BMG came to me I licensed my publishing to them. That means they’ll have a certain percentage of control to push the music for instance the deals with Netflix shows, commercials, etc.

In the music industry artists are always put against each other. What is your response to that? Do you value collaboration since you’ve worked with Anatii, Una Rams, Muzi, ThandoNje, etc…is collaboration vital?

I don’t see anyone as competition, music is special to me, so I can’t make music with someone I do not possess a connection with. It’s a spiritual encounter so if that isn’t there, then working together is hard but I will support you. My collaborations have always been organic, the vibes are always there and it goes beyond artistry and I’ve formed friendships with them.

“I want my music to feel like home and that ’s my inspiration.”

What is next, are you dropping more visuals for your music? Am I right in saying you are heavily involved in your visual productions?

I will be releasing two more visuals and I am working on a project - it’s extremely conceptual and there are a couple of features on it that I am excited about.

Interview by Anastatia Nkhuna

@espacio_dios

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IQHAWE 11

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azi Ya Sanaa, which means “work of art” in Swahili, is a band that blends the sound of Jazz and Soul. Through this blend, they remain authentic to the diverse influences that are infused into their sound. The duo turned trio band has since debuted an EP titled Prephase. Subversion not only lies in them favouring vintage genres but also in their lyrics.

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How long have you been working together as a group?

Please share a bit of background information about who you guys are.

Lebogang: “My name is Lebogang Kaziwa, and I’m from Kimberley, in the Northern Cape. I got involved in music in high school, and since then, I have been trying to start a band. We were playing in different groups, and things only started coming together in Joburg. Outside of music, I studied Law at Wits, and I play the guitar. That’s me in a nutshell.”

Moulan: “My name is Moulan, and I am the lead vocalist of Kazi Ya Sanaa by day and a procrastinating artist by night. I am also from the Northern Cape in Kimberley. My real name is Estelle Jacobs (I never tell people this. However, you are an exception!)

I was in a music group a lifetime ago, and we branched out on our own and did our own thing, and the three of us plan on killing the game!”

Karabo: “My name is Karabo Welcome Mvelo, and I’m from Vaal, the South of Joburg. I began playing when I was 14, and I went on to study music at Wits in 2016, which is when I met Lebo. Since then, he has always wanted to start a band, and we have been playing and writing together. Outside of Kazi Ya Sanaa, I am a student, that is all.

Please walk us through your journey of how you started Kazi Ya Sanaa and what you have done in the last couple of years.

Moulan: “I loved Lebz the moment I met him. My previous bandmate went to a school concert where Lebz was performing, and he could not stop raving about their band. We decided to meet the band and watch them play, and Lebz stood out for me. He was quite passionate about his craft. I later parted ways with the previous band, and I contacted Lebz, and we had a gig together. I asked if we could perform together at the gig, and he agreed. With only the two of us on set, we began practising. We started our band in 2019, but we were nameless for a bit. “ How did the name come about?

Lebogang: “Once the EP was complete, we realised we needed to come up with a name. We went for Swahili, Kazi Ya Sanaa, which means ‘work of art.’

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Karabo: “So, they had a gig at the beginning of 2020, and they wanted someone to play.”

Lebogang: “Karabo and I have been writing music informally since 2019. I would send him stuff that Moulan was sending, and it got to a point where we just had to tie the knot.”

The music you create is very nuanced, influenced by various factors and musical elements. What is your creative process? Where do you source this inspiration to come up with music?

Moulan: “I have one answer, and it’ll cover everything; it’s our lives. Everything we’ve experienced, every tragedy, every win, every breakup.”

Karabo: “Every time we’re broke. Musicians play according to what happens in their lives. So, you can’t say you’ll keep your personal life separate from your music because that is where we get our inspiration.”

What are you guys listening to at the moment?

Karabo: “My background is jazz, hip-hop, kwaito, house, gospel, afro-jazz. I bring a lot of those things.”

Lebogang: “And for me, rock music. I used to listen to rock music religiously.”

Moulan: “I am deurmekaar when it comes to this. Jazz, alternative and even Latino music. Bossa Nova is one of my favourite genres.”

There is a large influx of people who are doing different things in the South African music industry. Multiple bands are coming through, and there is growth within the space.

How are you guys ensuring that the music you produce is different and stands out and that it reaches the people you want it to reach?

Moulan: “We are authentic, and we are ourselves, and that is how we strive to remain. We are different people, and our coming together is perfect.”

Karabo: “We come very honest in writing as well. We are really ourselves. I do not think it is something we think of that much. We already know the differences in ourselves and try to be honest in our music, and people will love it.”

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Lebogang: “I had a conversation with Karabo back then, and I said he should not write because he thinks it is what people would like to hear. The same thing with the duration of a song. Do not stop a four-minute-long song solely based on people, not ‘liking’ a four-minute-long song. If a sevenminute song pops up on the next EP, don’t be surprised.”

Are you guys currently signed, and what are your thoughts on that? If you are independent, what are the challenges you are facing?

Lebogang: “We are currently not signed to anyone. We do not even plan on signing to any big label right now.

We have a manager that handles admin stuff. We are currently independent, and the challenges that come with being independent is, for example, studio time. That is one of the biggest challenges.

Record labels give you a budget. So, you can work four hours in a studio and produce whatever you want. That is our problem, trying to produce quality with limited resources. In terms of the future, if we are to sign to anything, it would most likely be Indie labels.”

Moulan: “You have creative freedom there as well, and the financial backing would be beneficial. Moreover, you oversee your craft.”

How are you guys navigating the financial aspect of music? How would you advise an upcoming band on the process of getting the gig itself and charging for the different gigs? Is there a standard that you guys are working with?

Lebogang: “The first aspect of your question is to network as much as possible, we use the internet to our advantage. Introduce yourself and meet people that will help you get gigs. Promoters are your best friend in this industry, they have the budget, venues, crowds, and they are the gatekeepers. In terms of framework, it is more about teamwork.

When it comes to your art, you cannot put a price on it, it differs from one shore to the next.

A corporate gig versus something we are doing on our own will be very different, therefore, they will have different budgets. So, when you work with individual promoters, you should look at their fanbase and the outcome. There are certain instances where you would have to lower how much you are willing to charge because of the outcome of the relationship that you are trying to build with the promoter, and when it is corporate,

you are not trying to build a relationship. Make your money and perform. There is no formula for how much you should charge. It is about being honest with your value, you know how much you are worth. Artists are some of the most hardworking people, and they have gotten us through this pandemic. They deserve much more than they are getting now, credibility wise.”

What has been the one thing that the pandemic has taught you about your music, your creative process, as well as the performing scene? What are some of the things you would have to incorporate into your music to adjust to the new norm that we had to find ourselves in?

Lebogang: “So many things happened in 2020” Moulan: “With the release of our first EP, we had to celebrate on our own. It was exciting, but it was downplayed due to the pandemic.”

Lebogang: “We had planned that we were going to play at our launch. Unfortunately, all three of us were in different places. There were so many things we could have done. Nevertheless, the pandemic helped me realise my self-worth and my goals. It helped us plan and write more music.”

As a woman working in the music space. What would you say are the common positive redirectors shifting the music space in 2021, making it more inclusive for women? Are there any? If there aren’t, what do you think of being a woman in the space today?

Moulan: “In my previous experiences, it was hard because I was the only woman, and there were times where I felt like I was just a voice and did not matter in the band. It almost felt like I must just shut up and sing, and now, because of how things are changing, I am grateful that I am with two very open-minded individuals who are understanding, and there is a level of respect. I throw tantrums every now and again because I am older than them, and I have quite a lot of responsibilities that they do not necessarily have. So, the pressure is a lot for me because I have my hands in everything. I do feel like my opinion matters a lot.”

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DISRUPTERS

What are your thoughts on the South African music space and how it is evolving, are you guys excited, just an overview of how you feel about the space currently?

Karabo: “I think it’s good. I am excited, there is a variety of different genres and people.”

What are some of the things you have learned along your journey in the music industry, some of the tricks and trades that you guys utilise in your music, resources you have utilised to ensure it advances your music further?

Lebogang: “It is quite big. We are getting to a point now where even the music nerds and the people who are specific about genres will begin to get confused because people are experimenting.

There are a lot of new artists that are producing new and different music.”

Lebogang: “Music and the business of music are two very different things. So, we still crawling in terms of the music business because we are sorting out a couple of things with companies.”

Karabo: “One thing I like, as much as we are moving on, people are going back. There are a lot of people going back to their roots and mixing them with their sound.”

Moulan: “I understand what Lebz is saying in terms of music and the music business. I would advise people who are starting out to educate themselves about contracts and the music business, such as what you should get out of the situation. It is important, besides the skill and talent, to be knowledgeable. There are things we are still learning.”

In using the tool of manifestation, where do you guys see yourself in the future? What are the goals that you guys are working towards attaining?

Lebogang: “In terms of music, we are also learning. It is important to constantly learn, practice and try to learn from as many people as you can around you.”

Moulan: “Also doing collaborations with some of our favourite artists. I would like to be on Colours, in a blue dress, on a blue background. However, the goal right now is to finish the EP.”

Karabo: “To add to the practicality of the music business, I think it is important to differentiate what is in the books, from what happens.”

Moulan: “Don’t be afraid to network. In the beginning, we have done a lot of free gigs, and do not look down on ‘recording in your friends’ backroom’.”

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Karabo: “Timeless music, man. The goal is to make music that is so good that even after fifteen years, it is still relevant. We want to go international and perform a lot.”

Karabo: “Mainly for this thing to sustain itself financially.”

Lebogang: “We want to be on the road for months, on tour, to a point where we get tired and want to go home. It also comes with financial stability. We want it to get to a point where we can reject gigs because we are no longer doing it for the money.”

IQHAWE 11

Interview by Pretty Mangena

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Tell us about releasing Ephemeral?

Who is Roho, where and how did you grow up?

My name is Gomotsegang Maponyane I am 22 years old, I was born and raised in Pretoria North, Theresa Park. I also grew up in Montana but for a very brief time when I was young I was living with my Grandmother, it was a vital part in my life. She lived in Limpopo so she had crops and a chicken coop, and animals and that grew my fascination with my environment.

When did the music journey begin?

I remember I used to listen to a lot of instrumentals and beats growing up. I was also reading and writing a lot so initially it was like poetry for me so one day five years ago I tried to merge my skill of writing to a beat. This was early highschool so I would record these moments on the phone. I played it to my friend Sne and she encouraged me to sing. It was the summer of 2016 Sne then bought me studio equipment and I played around.

Two weeks before the release, I had COVID. I was frustrated and exhausted by everything. It came out on the 27th of September, and all I wanted to do that day was to put it out and forget about it. I switched my phone off after checking if it had uploaded. I remember not listening to music the day after the release. I was so anxious because it was my first body of work, and I felt I didn’t speak much about it for me to put it out like that. It was a surprise for many.

How has the response been after releasing and have you processed it?

It is a humbling experience when you realize the importance of being your authentic self and how much that can impact, influence and spark a memory for the next person and it’s all because making music for me comes from a place of honesty. I didn’t have expectations of how people would respond to it.

How did you find the right producers to work with and how did you nurture this relationship?

I have kept and have always had a good working relationship with my friend Dooushii. He was the first person I started making music with. My first song that I put out was produced by him. We have collateral in music. Throughout the years we have shared writing and beat ideas and we were exploring what works for me. He was important in the production of Ephemeral. On the EP I had other great guest producers like Tyson ST, Oshoku, HRTLSZ, YOLOPHONIK, who has also been there from the beginning. It was amazing to work with different styles and sounds because I knew I didn’t want every song to sound the same.

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How do you use social media to push your music?

I am not the best at moving on social media but social media has helped me reach the people I have and had I not had a social presence I wouldn’t have achieved the features and interviews I have.

I have loved how people interact with the music I have put out more than anything social media has helped me become closer to my community.

How has your spiritual journey informed how you move as an artist?

How have you been figuring out the business of music?

As much as I would really love to just be the creative and just make music, it is also very important to know how to move with what you’ve made. For me as the artist it’s just music but for the audience it becomes a product, so it’s important for me to learn how to move the product in a way that works for me. It takes a community of different people, from different realms to bring the fruits to life. For now, I am focused on building a solid community.

As much as it might be easy to get signed and have the privilege to just focus on the music and not too much on the admin, a big part of me wants to experience what it is like to do it on my own with the community I have now and continue to build.

For the longest time I felt out of touch with myself physically. I think I couldn’t separate my spiritual self from my physical self and it always felt like one fusion. It was a dense energy and I had a lot of anxiety and I was reclusive. I think when that stopped I found myself spiritually and I felt that experience for me was very important to share in my music. When I was discovering myself spiritually, I was also discovering myself artistically.

You never stop evolving spiritually so you can only imagine how that can impact your art.

Will you be releasing any visuals for Ephemeral?

Yes, a bit of a back story. The week when I got the record back I listened to it and instantly saw a story with a beginning and an end. The second week after that, I hit up my friend Mihlayethu Nkobo @iareNino and we drove to a military base airport and I played the record for him while we watched the planes fly in and out. As the songs played I told him the story. We have been working on turning the project into a visual project since then. We have been conceptualising since September, we are putting it all together.

Interview by Anastatia Nkhuna @roho.x

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PRODUCERS & DJs

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What has this pandemic taught you about your set creation, thinking/creating process, and the performing scene? Is it still teaching you about yourself and your artistry?

Who is Kat Upendi, where is she from, and what does she do?

Katlego, Kat in short, was born in Johannesburg and raised in Polokwane. She left home to study Science in Pretoria, and while there, she was also involved in art spaces that focused on poetry and music, which is where the name “Kat Upendi” was born, who is now a DJ. Please walk us through your journey as a DJ, from the beginning to where you are currently?

I have always been interested in music, played different instruments ranging from violin to piano. While waiting for University to begin again, I downloaded ‘Virtual DJ’ and learnt how to play, uploading my mixes on Soundcloud. A lady named Coco from Kitcheners then reached out to me, who then put me through a few lessons then later booked me for my first gig. What began as a hobby during a school break advanced into a paying career path.

What made you decide to play Afrobeats / Alté Cruise sets?

During this pandemic, I had ample time to practice and learn new skills on the decks, which have improved the quality and sound of my work. Due to the lack of gigs, I began hosting Instagram lives so I remain relevant, which afforded me a gig on a national radio station. Currently, I am working on new projects which I will share to keep people in the loop of Kat Upendi.

Take us through the journey, trials and tribulations, and any challenges that you have experienced during your time and journey as a DJ. From playing at Kitcheners, The Hive, and Woke Arts up to the Feel Good series, Tshwanefontein, and the now recent 5FM in the mix?

There is already the issue of not being paid on time. One of the things I have found challenging is navigating my way through an environment that is different from the safe space that is Kitcheners. I now receive bookings from spaces that are different and hard to navigate. When it comes to Afrobeats, many South Africans do not listen to it. Therefore, that musical difference becomes challenging within different spaces. However, I have learnt to take these learning curves as lessons and not a personal attack to my brand.

In my understanding, In The Mix at 6 (with Kat Upendi) is a 5FM residency, right? How has this opportunity been for you, the reception and experience as a whole?

I began listening to Afrobeats when I used to travel to Nigeria.

When I became a DJ, I played alternative music, and I was only exposed to a few Afrobeats songs from other DJs. Consequently, I saw an opportunity to be a DJ that focuses on and plays more Afrobeats. Alté Cruise is more of an alternative version of Afrobeats. It is a movement that began in Nigeria and became more of a lifestyle than a genre that needed to be heard.

It has been great because I bring a different vibe to the station as they do not play much Afrobeats or music from other African countries. I feel honoured to be the one that can expose the listeners to that music, and I love that so much! I have received great feedback on the mixes, and I also get to be as experimental as I want to be. It has also created a platform to introduce new upcoming artists, which is one of my favourite things about this journey.

From what you have observed about the DJing industry scene, what can you say is a common positive redirector that is shifting the South African music industry?

In using the tool of “manifestation”, where do you see yourself five years from now?

The narrative and art existing in DJing spaces have changed because the industry is now more inclusive of women and queer artists. Due to the culture shift, there are more safe spaces created for people to go and party in.

I see myself touring the world, DJing and meeting new people, sharing Afrobeats with the rest of the world. I would already have released a single by then.

Interview by Ntokozo Mabuza

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PRODUCERS AND DJs

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IQHAWE 11

e Nanza, formally known as Lanza, is a 25-year-old DJ from Pretoria. She started her career as a radio DJ and has made her way to becoming a household name, expanding her reach in the industry as an MC, Influencer and Brand Ambassador.

Let us talk about finances. Does your music sustain you?

And how do you go about charging for your gigs? Is there an industry standard that governs how to go about your rates?

From my experience, especially before lockdown, your rate is higher when you have more experience. If you get a corporate gig, they will give you what you charge. But in the streets, popularity is influential. Now that we are within lockdown, rate cards are not as important as before because we must consider that events have been closed for a long time and alcohol sponsors have also stopped, so event organisers can only give you what they have.

Negotiating is an important aspect of financing your career. My rate card is based on various things, and you can see what I have done and what I have worked on. I have not been in the industry for long, but my entertainment cv is very impressive. So, it is based on your experience and how well known you are.

Please walk us through your journey as an artist, from the beginning to where you are now.

In matric, I knew a radio DJ from a national radio station whom I asked to allow me to shadow him, so I learned more about the radio space. He agreed on the sole reason that I attend University in Joburg. Unfortunately, the University of Pretoria offered me a place, and I ended up studying there. In my first year, I studied BSc Physics, then switched to a BCom Degree in the second year. One day while on campus, I came across an advert for the campus radio intake, and that is how I got into radio. In 2018, I asked one of the resident DJs to teach me how to play, and that is how my career took off.

How have you found the business of the DJing space? Are you currently signed to any management company? What are your views on independence vs being signed?

I am cu r r en t ly u nd e r I P No l a management, a company founded by a friend of mine, Ipeleng. We were colleagues at the campus radio station and friends even before radio. When I started DJing, she was constantly coming to my gigs, so I asked her to manage me. She is the one who distributes my rate card and speaks to promoters. My thoughts on the matter - w o r k i n g i n d e p e n d e n t l y i s t o u g h , especially if you do not know a lot of people. However, before you get signed or get a management company, figure out what you are okay with doing, what you want someone to do for you and what you are willing to do for yourself.

Take your time as an artist to find someone you can trust.

What has this pandemic taught you about your music, your thinking/creating process, and the performing scene? And how have you adapted to the new norm?

I had already planned my year when the pandemic hit. My manager and I had to come up with ways to remain relevant. She said that we must adapt, which meant we make use of social media. She got me a gig on tv, which increased my following and granted me further recognition. From then on, I began recording live sets for people to watch and interact with, available on YouTube, Instagram and Soundcloud. My team and I ensured that I am always on some sort of media that people can access from home.

In using the tool of “manifestation”, what is the vision going forward?

I am very keen on releasing my music. I will soon be going into the studio with a couple of producers for my debut project, starting with a single. I want to introduce people to my music, my core, and the kind of music I listen to, and I also want to leave a mark in the industry. I want to work in corporate so that I can make use of my degree. I have plans to return to radio as well then launch a YouTube channel. I am very excited about 2021.

Interview by Pretty Mangena

..my core...”

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PRODUCERS AND DJs

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ikita Maesela, popularly known as Nodiggity, is a young DJ born and bred in Cape Town. She is currently based in Johannesburg, also working as a creative writer. Her work focuses on social justice and activism, mainly focusing on the LGBTQI+ and women-led communities.

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Different, weird & unapologetic Please walk us through your journey as an artist, from the beginning to where you are now.

What are some of the challenges that have hindered your ability to create?

I received an opportunity to play at Varsity Fund Raisers at the end of my undergrad in 2016, where I played early 2000s hip-hop and RnB music. In High School, I was a vocalist in a band, also played the guitar and the marimba. I lost touch with my creative side due to school, so I ventured into a journey of finding myself in the creative space. I began playing in club circuits in Cape Town, where I met various people who helped me to grow my craft. Through these opportunities, I was able to find my style which is house music and its subgenres. Finding my style has allowed me to tell stories and to communicate with people on the dance floor and the other side of the screen.

The biggest one I have noticed is the need for the industry to force you into a box. It goes beyond the art; one sees you as a femme black woman and automatically creates a narrative about you. The problem with this assumption is that the industry wants you to bring something different, yet it is not as easily welcomed or understood. The idea of me being vulnerable through my craft is a bit terrifying because of the fear of the backlash I might receive. However, I need to be authentic. I am Nodiggity, different and weird yet unapologetic. I need to be ready to take the obstacles and blockages that may arise from people who do not understand or agree with who I am.

What is your creative process, and where do you source inspiration?

Please share some of the Tricks and trade you learnt throughout your career for someone wanting to enter the industry.

I grew up listening to soul music, which now gives me a nostalgic feel. When choosing house songs, I look for ones that provoke the same feeling of nostalgia; it could be adding a classic Whitney Houston song to a current house beat.

During my creative process, I consider what the baseline for the acapella is and how it emphasizes and takes you on a journey. Essentially, I look at how a house track can do justice to the story that Whitney Houston or Aretha Franklin is telling.

How have you found the business of the DJing space?

Are you currently signed to any management company?

What are your views on independence vs being signed?

I am not signed to any management company. I oversee my branding, PR, and management, which is a lot of work because it consists of performing and following up on payments. People in the entertainment industry end up getting managed, which allows them to focus on their craft, and creative expression. However, independence comes with an empowering experience because you learn to multitask.

From branding yourself to making sure that your content is well received by your fans. I believe that it is important to have complete creative control over your work, which is generally something that is valued in the creative space.

Attend as many gigs as possible and immerse yourself in that space. Always move with intention. Know what you want someone to get out of an encounter with you. Listen to what other DJs are doing on the Internet and connect with different kinds of people. Most importantly, have a support structure.

In using the tool of “manifestation”, What is the vision going forward?

I want to be an acclaimed producer with all the necessary equipment and financial support. I want to afford the people who do not have enough financial backing the opportunity to become a part of the industry. I had to learn how to navigate my way around without the resources, which consumed 60% of my time. Therefore, I know the pressure and feeling that comes with not having resources and I would not want someone else to experience that. I want to create a space where we can engage and talk about things happening in the industry, and also have conversations with the people we look up to that entered the industry before us. The goal is to become an internationally recognized DJ who is doing exceptionally well for herself.

Interview by Pretty Mangena

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PRODUCERS AND DJs

d a h “..I in m

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IQHAWE 11

e v e i l e b o t ” . . . f l e s y m

K

elvin Chilezi, born to Malawian parents, is a producer and sound engineer born in Soweto and raised in the South of Johannesburg. He is known as Uncle Scroogy, and he is also the founder of Sunchild recordings. Currently, he is a final year student at ASE, studying Audio Technology.

What directed you to be interested in music?

Growing up, my father would bring CDs to play at home. My mom would record music shows on VCR, and I would beatbox to it and try to understand how the music was made. My father later got us a computer, where I learnt how to mix, first using Virtual DJ then later Fruity loops. My parents helped in cultivating this love for music.

What experiences, either good or bad, have you come across when establishing yourself? Has social media impacted the way you market your music, and how did you start publishing your music?

I had nothing figured out. I knew where I wanted to go but did not know how to get there. I then discovered Soundcloud.

I started using Facebook as a marketing tool amongst my friends, tagging them in my releases, but I realised that people did not respond well to the songs, especially my original tracks. So I discovered a way to get them to listen. I started flipping songs I knew would spark their attention. Many started engaging with me on why I would flip their favourite songs.

Flipping became a way for me to put myself out there without having to do too much. Then I tried Instagram, and I found my community. That’s when I released Human.

Your remake EP ‘Human’ caught the attention of Between 10and5 and YfM; Did that encourage you in any way to keep pushing?

I released the EP in 2018 after matriculating, but I was not pleased with my grades which resulted in me sitting at home focusing solely on my music. I planned to drop it on my birthday. The idea was to remix South African music. I posted it and left my socials; when I came back to my phone, I had tons of notifications from my Twitter. There was one from Khutso Theledi (YFM), who had heard one of my songs. I was overwhelmed, but I knew that I was on the right path, which encouraged me to continue creating. The doubt from myself and people started fading. I am still humbled.

Let us talk about money, what risks have you taken that you have learnt from on how to handle your money better.

Let us talk rates? As well as your financial future in the music business?

It has not been easy. I had to believe in myself and back myself up to get the equipment I now have. I have not received a cheque from my work in a while, but I have always saved up the money I receive to put it towards my craft. Unfortunately, the arts are not well funded, so I had to learn to diversify, and that is why I want to grow SunChild recordings and my other entrepreneurial ventures to fund the music. Unfortunately, finances can be the downfall of passion.

Has school enhanced the way you produce music?

Yes, it has, from how I produce to the gear I use. ASE gave me knowledge on how to get the job done quicker using the tools audio technology has. The information I have received from ASE has been fundamental in how I navigate my career. From the courses about copywriting, reading contracts to mention a few. ASE also just taught me to stop knocking on doors and construct my own.

What are your upcoming projects? Are you working on any projects?

I will be releasing a project, still deciding on a name between “To Whom it may concern” and “True Blue.” The project is about me being loyal to the music and myself. I have produced a song with a singer named Angela, which I am looking forward to seeing how it will be received. The difficult thing with art is what you give out to the world, you can never get back, and I think this is why this project has taken so long to come out.

If there is one song you would want people to listen to made by you, which one will it be?

Guluva & Brenda Fassie x Busiswa- Weekend Starring. It is my audience’s favourite.

Interview by Anastatia Nkhuna

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PRODUCERS AND DJs

When and how did Nouveaux form?

Neo: Thube and I met in 2013. I was staying at res during my studies and he was dating a friend of mine so I met him through the friend.

We clicked quickly and that was the beginning of our friendship before we became Nouveaux.

Thube used to do poetry at WokeArts and he would also do playlists there so they asked him to make a playlist in a mix and then he approached me to make it into a mix because he knew that I could mix.

Thube: After I played the mix the feedback was that it was amazing and the next time they hosted again I was asked to play again.

I suggested to Neo for us to go half on song selection and he will do the mix. We then uploaded the mix on Soundcloud and it got attention and the people at Woke suggested we play live and that’s when Nouveaux was born I had to learn how to DJ.

How do you find Soundcloud distribution when it comes to your mixes , how has your experience been like?

Neo: Soundcloud was a platform we were learning music from, as much as Soundcloud has a bad reputation for changing and playful artists, I think for us it was a route to discover music that we couldn’t find anywhere else.

How did you guys start Soundset Sundays?

Thube: There was a point in time where I almost moved to Cape Town. This was going to be the disbandment of us. One of the things we had spoken about was hosting an event. Fortunately, things panned out differently and I stayed in Johannesburg.

A friend of mine knew about a venue, we met the owners and pitched the event.

The first Soundset was the 1st Sunday of August in 2019. We wanted to create a space for us and for our audience so the music we played was what we were known best for.

IQHAWE 11

How is Eclectic Sessions different from Soundset Sundays?

Neo: It’s still really in its infancy. We wanted to look more into live performances because as DJs we are cool with a lot of artists so we found it was an interesting way to collaborate and work with them to showcase and celebrate. For instance we did one with Dali Danger which was incredibly successful for our first event. We want every electric session to be a celebration of the artist. I hope we can do more of those.

Let’s talk about the business of DJing and how you have found it when it comes to financing it because it’s not an easy path to follow?

Thube: We are starving! (chuckles) When we started off we battled because people didn’t know us and we had to be the ones to approach. There was always a finesse to developing a viable way to keep doing what we do and locking in bookings. In the beginning we didn’t know how much to charge for our rate. We had to ask other DJs how much they charge so we can know how to charge in certain situations. Our rates have definitely changed throughout the years due to different venues/ promoters and brands we play for and even additions to the team like having managers and photographers. Our experience plays a huge role in our rates right now.

How did you get to the decision of getting managers?

Neo: In the beginning we always played with the idea of having a manager because we always saw artists have managers. We’ve had a couple over the years with various degrees of successes, some not so good because our management relationships didn’t really last long. But I felt like we needed the right fit so we had to take time and sometimes it would be just Thube and I just strategizing and doing everything in between.

Management is important because as dope as you are, there are always other people who are better at things than you are and there’s a great saying about how “a smart person always knows when to delegate”. I just think when you need someone else’s expertise to lean on you can focus on your strengths while they focus on theirs and I think that’s what we’ve found with the team we know we have. But it’s not always rosey there’s a level of trust you must always have in each other and in the project.

Thube: I was reading an article by Saba where he says “management has to find you” and I think in our early stages we were always trying to reach out to managers and I think maybe that has an affect on how it pans out because management is someone who believes in you

more than what you believe in yourself because they are the one’s doing the selling on a constant basis. When we aren’t there they are the one’s saying “Nouveaux is dope, book them”.

How have you used social media to your advantage?

Neo: Social media is essential, whether it’s going through replies or comments or being tagged or being involved in virtual parties or recording what we’ve done it’s all important. A big part of being able to sell ourselves is to be able to have something to show from what we’ve done and social media allows for that.

Thube: When we would do frequent mixes our audience was always responding so when it was time for our events we knew how many people would pull up because we know our audience. We have people in other provinces who want to experience us live but that wouldn’t be possible if we weren’t on social media.

What can we expect from Nouveaux this year?

Thube: We want to upload mixes more frequently and if the year goes well in terms of Covid-19 we would like to host more events. Maybe do a couple of Soundsets and other different events. There’s a lot to explore and I think because we are alternative in our sound we want to be in more spaces where we aren’t traditionally noticed and collaborating with other groups in terms of hosting events. But mostly we want more visibility.

How have you found it being creatives in the times we find ourselves? As the crazy moments of 2020 kept your relationship going?

Thube: It’s about how much we really want to do because when 2020 happened we were forced to communicate on a more consistent level and be honest with one another and be honest about what we were trying to do because over the years we’ve been doing it because it’s fun so when we paused and got back around September 2020 things were slow and we went into questioning ourselves and suddenly one day we kicked off a crazy amount of gigs although disheartened we ended up being booked at Feel Good Series by Mamakashaka and after that it became a snowball effect resulting in Eclectic Sessions.

We used these moments to figure out who Nouveaux wanted to be. We just realised we had each other and that we had to build a strong identity especially in these times.

Interview by Anastatia Nkhuna

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PRODUCERS AND DJs

IQHAWE 11

Why do you have such a deep interest in audio?

It has always been there. As a kid, I always had an interest in music and had the latest songs. I was also a dancer, but I discovered that there aren’t cool mixtapes to dance to, so I started DJing and made my own mixes. The production bug bit me, and years later, I decided to study, and that is when I got into content producing.

Tell us more about In The Lab? As a platform, what has it done, and where do you see it going?

In the Lab started in 2019 after consuming a lot of similar content. I remember bumping into a YouTube channel called ‘Producer Grind’ and thought to myself “why is there no such content in SA?” I saw a gap and decided to fill it. That is when I met Mihlayethu ‘Nino’ Nkobo, who was in the media lab editing something he shot.

Since then, I have been working with him, and it is something we are growing. I see it growing into a brand that covers all corners of the Audio industry.

Let us chat about the business of sound?

In the audio industry, you need to know how to move and which sector you are good at. Entrepreneurship is what will get you paid. This industry is relationship-based, so you need to know your people. CVs, unfortunately, do not work most times. You get hired because you are known and referred by someone. You need to diversify, work smart, and take gigs you can do, but that also allow you to learn on the job.

How did it come about for you to work as the audio mixer on MacG’s podcast and chill?

A friend of mine put me on to his podcast, then informed me when he was looking for an audio mixer. We recorded the episode together. We stopped working together for some time, then in 2020, we picked up, and the sound has improved, so has the numbers. I mix the audio for YouTube and other streaming platforms.

What is your favourite interview on ‘In The Lab’?

It has to be Master KG and Makwa’s interviews.

Interview by Anastatia Nkhuna

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WOMEN SHIFTING HIP HOP HEGEMONY

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IQHAWE 11

A

stryd Brown is a singer, songwriter and creative director, born and bred in Eldorado Park. She primarily does RnB, but she occasionally dives into Hip Hop and Trap Soul.

Let’s talk about how you have found it, as a singer and songwriter, to break into the scene as an RnB artist in SA? I found it fun mainly because of the people I have worked alongside.

I have not felt restricted; it has been challenging from the business aspect, but the creative side has been beautiful.

What was the process of making Four?

The beat was there in the studio; I was with Yung Swiss, I went for the hook and melody. It was electrifying, and on the spot, I decided it was my single. Yung Swiss and I are working on a joint album titled ‘Computer Dreams.’ I love working with him because he pushes me to create beautiful music. He is great at what he does, so I have been bringing my A-game. We both can’t wait for people to receive it.

How have you found the business of music? Are you still signed? Views and experiences on independence vs being signed?

I am currently an independent artist. I was signed to an independent label that I left because the relationship was not working out. I enjoy the freedom and the knowledge independency has provided me with so far.

In the music industry, there is always competition and rivalry that is perceived. What is your view on that? Are you supportive of other women in music? What are your views on collaborations and experiences of it?

I support and fully encourage collaborations with women in the music industry. I do not support the rivalry that the media creates for women in music. Instead of working against these women, I have opened up to working together and owning the industry with them. I recall my experience working with Nadia Nakai and how we are not only artists who work together, but we have a great friendship that made working with her amazing. I am open to more collaborations with women in the future.

Where do you see yourself? Tell us your vision as your highest self; who is she?

I want to be an international superstar and the person I dreamt of being as a young girl. I want to collaborate with more artists, creating a platform for artists trying to do it right. My dream would be to provide support to other artists with the knowledge and network I have because I know what it feels like to need help.

Interview by Anastatia Nkhuna @astryd_brown

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IQHAWE 11 and energy. You turn into a vile person when you feed into this negativity that will not even benefit your growth in any way. I am supportive of other women in our industry. I am a firm believer of the importance of collaborations between us.

How did it happen for you to end up working with 031 Choppa to produce your debut EP? Is there a story behind Kumkanikazi? What are you saying with this amazing 6-track project?

When did your career begin, and how are you navigating your way around it?

I began making music in 2018, yet only released in 2020. Each day there is something new to learn in this industry. I am currently an independent artist, not signed under any record label. I do, however, have a manager named Kay Bhengu. As an upcoming artist, the money comes in a bit slow sometimes, but it still comes through at the end of the day.

Do you use your music as a way of preserving your culture and language?

E

nzokuhle Aviwe Ngeyake, known as Benzo, is a 20-yearold singer, rapper, songwriter, actress and creative. She was born in Johannesburg and raised in both Johannesburg and Port Elizabeth (Gqeberha).

She is an AFDA Television student, currently taking a gap year.

Yes, I do. I am proud of my culture, roots and my language, which is isiXhosa. It is important to recognize where you come from regardless of where you are going in life.

Women in the Hip Hop industry are always put against each other, compared and often wrapped up in grudges that sometimes are non-exist. What is your take on this? Are you supportive of other women in the game, and are you open to collaboration?

It is true that people sometimes put women in the hip hop industry against each other, and for my sake and sanity, I acknowledge it is there, but I do not pay attention to any of this because I believe it is a waste of time

I knew Choppa from Instagram before I began working with him. In June, we started communicating about working on a project together. “Kumkanikazi” was going to be named “Eleven” because it was dropping on 11/11/2020. Although I do see other angel numbers, I saw 11:11 more often. We had completed three tracks on the EP when Choppa sent me the beat for “Kumkanikazi.”

I wrote the song, and we recorded it, which led to me changing the name of the EP to “Kumkanikazi.” This project is meaningful to me, I empower myself with my songs, and I aim to empower other people.

How has the response been to your debut EP? Is it enough to make you want to push it further, and do you plan to push it or even drop another body of work?

The response to the EP has been beautiful.

A few people have told me how empowered they felt after listening to my EP. I am receiving so much love, and I appreciate my Benzonites (Benzo stan name). I am truly grateful. I will be pushing it further, dropping more visuals, songs and another body of work.

How do you feel to be part of history as a Black Woman in SA making waves in the growing Hip Hop industry? Are you excited about your continuing success?

Knowing I am a part of Black Women in SA that are making history and waves in the industry makes me happy. I am not only doing it for myself but the empowerment of others too. It is mind-blowing to think of how iconic I am. And yes, I am excited about my continuing success and cannot wait to do more.

Interview by Anastatia Nkhuna @behold_benzo

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WOMEN SHIFTING HIP HOP HEGEMONY

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IQHAWE 11

T

asha HendrixX’s marriage to her artform can be described as a synthesis between mindfulness, lyricism, and melody. She’s a conscious rap artist, and interaction with Tasha quickly turns into an invitation to experience a deeply rooted burgeoning, that of introspection while sustaining her identity within her music. The 24-year-old rapper was born in Cape Town, raised in Pretoria, and soon relocated to Joburg in 2015, where she fully realized her love for rap. You could call her ‘ingenious’ because she edits her own videos, engineers her sounds, as well as produces her timeless projects - a jack of all trades if you will. Tasha is a lightworker, her work creates meaning and quintessence and this is the motive behind her creations.

What are some of the themes your music is about and encrypted in?

Please walk us through your journey as an artist, from the beginning to where you are now.

I started music in Grade Seven, 2009. I started mixing, engineering music so I already showed interest in audio engineering from a very young age. I actually think that the sound engineer in me came alive in Grade Seven, and the rapper in me came alive in Grade 11. I spent most of my years recording music, never released it but just mixing it and hearing how I was growing. Grade 11 came and I released a song called “So Many Times”. It was received well but I was still uncertain what type of artist I wanted to be and stopped for a bit. After high school in 2015, I bounced into who I am and what kind of artist I wanted to be and then I released a single, ‘Day by day’ in 2016 over a youTube beat. I was still testing out the waters to see what people want. Do they want boom-back? Do they want hard rap? It slowly came to my realisation where it was actually about what I want for me and that’s where my journey really began. It took a good nine years to establish myself but it’s always going to be a journey.

Last year I was working on my latest project that dropped in July, ‘RAP’. I was thinking, “what’s the point of saying all this, making all this if it’s not timeless and if the message can not be carried on from generation to generation”. Those are some of the things that shape how I go about writing or producing music. Those are some of the things that help me shape how I look at what I do. My message is me going with the feeling, asking myself “where is my entire being at?” If I feel sad today then it’s ok - what kind of song can I write today? What kind of message would that be? Would I wanna uplift people and let them know it’s ok to be sad? Let’s be sad together. I am a conscious artist, I enjoy having fruitful conversations so those things all inspire me to write that kind of music naturally.

Much like most industries these days the South African music industry is extremely clustered, what do you think makes your music stand out and what are some of your creative processes?

What makes my music stand out is my approach. If you’re in it for a genuine passion, you can hear it in the evolution of an artist. That’s why some of us take long to blow up. We do not want to serve society, the media, or what’s hot right now. We just want to be us, be authentic, be real, and be representatives of what’s happening. Those things are core values and views that I feel sets me apart from other artists.

I’m not in this for the fame, I’m not in this for the money. I feel like my approach is what sets me apart from the clustered vibe. Everybody will come to Tasha for certain types of hits. All those Radiohead’s, those club bangers you’re gonna get it in another department. I might not have hits that you can club to but I do have soul. I stay true to my passion.

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IQHAWE 11

Independence vs being signed to a label, what are your thoughts on that? Are you signed or independent? And why?

I’m independent and not looking to get signed right now and that’s because I haven’t found what I’m looking for in a label right now. I feel like that’s where a lot of artists go wrong cause they just feel like signing is a way out, a ticket to everything they’ve ever wanted. That’s cool but what is the label giving you in return? A lot of artists don’t read through contracts and what they’re being offered and then when there’s a trick up the sleeve it surprises them. If you’re going to get signed know what you’re doing, don’t do it because it’s exciting and it’s going to get you videos or gigs. Make sure that five-ten years from now you’re reaping the benefits from what you signed.

I don’t want a label to control my authenticity and creative process. What I put in is what I put in, all I need is for the label to distribute it. Get me gigs, get me the interviews but I don’t want you to change who I am.

Let’s talk about finances, does your music sustain you?

And how do you go about charging for your gigs? Is there an industry standard?

My music is not currently sustaining me. I work a nine to five.

I use the weekdays to get the paper and weekends I use to invest in the art. And I’m happy with that because I don’t want to stress about how I’m going to get a music video done, how I’m gonna get a shoot done. What I charge for a performance depends on the setup but it’s been really hectic trying to get gigs. The most I’ve charged for a gig was 2k.

From what you have observed about the women in hip hop/ RnB/ disruptors, industry scene, what can you say is a common positive redirector that’s shifting the South African music industry?

I like the fact that women are more involved in branding and more business-related opportunities. That’s something I feel gives us the upper hand as females. I feel like there are many great opportunities on the business side and a lot of females are filling those opportunities and making the most of them. I edit videos, I produce beats, I rap, I sing all of those things and people are like “Damn! and you’re a female?”. So the more we do as females, the more we show off our talents, our gifts, and our purposes, the more we have the upper hand.

What is the most challenging aspect that an independent artist runs into?

I’d say the finances. As much as I work a nine to five I still need to survive so financially it is an important aspect. It does get to a point where I need to wait three-four months to save up for one music video. That sometimes slows me down but it doesn’t stop me. Another aspect is exposure. Getting out there, getting plays, getting views and just having to network has been difficult since COVID. Also constantly staying active on social media is very challenging. I’m not really good at posting stories, going live. I try though.

In using the tool of “manifestation”, where do you see yourself in the future? (that of which can literally be tomorrow).

I feel like every day when I talk to myself, I put energy into the world. I try to manifest a being every day that will be able to touch another being. That for me is very important to who I am, my significance as a being to touch others. I try to speak to myself, Mediate to meditate and tell myself to be polite even if I’m already that, but I instill that into my being. I remind myself of the good vibes I wanna put out in the world. That is something I believe I manifest into my life every single day. I know that the point of manifesting is to put it out there and for it to be actually happening but sometimes repetition keeps you grounded. With that said, what I see for myself is traveling. I wanna travel and go to the Uk to see how the music scene is like on that side. I’m very inspired by the current music industry in the UK. Hopefully, I get my first award and get recognition as a sound engineer. There are so many areas of my life that I wish greatness for. I also believe I’ll win the lotto one day (and I’m not kidding).

What is Tasha listening to right now?

I am an oldies baby. My gym playlist consists of Dr. Dre, Wutang, Nas, Common, Big Sean. I’m a hip-hop head, it’s my number one genre. I’m not really familiar with the new kids. I’m just a fan of timeless music. I love Masego, FKJ, Dreamville, TDE artists, Chronixx, Damian Marely, and the rest of the Marleys.

Interview by Miche Edwards

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WOMEN SHIFTING HIP HOP HEGEMONY

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IQHAWE 11 How has the pandemic helped you evolve as an artist and a performer?

V

anessa Ndlovu, a rapper who goes by Venus Raps, was born and raised in New Castle Kwa-Zulu-Natal is finally ready to drop her first EP after 11 years of rapping, quitting and picking up the mic again.

What is something that makes you stand out as a rapper?

I think, more than anything it would be lyricism. I’m not a battle rapper but I also don’t fit into the commercial new wave that my peers under the age of 25 are doing either, so I’m having to forge a new path for myself and I want to do that by concentrating on storytelling in my lyrics.

Having been signed before, how was that experience for you, and would you do it again?

I’m not signed at the moment but I have been signed under a label that I can’t mention because of my release contract. Being signed vs not being signed is really up to you as an artist and what some of your goals are and what the things you can do for yourself are and where you might need help from other people. The deal I was in didn’t work out at all. I need to have my master’s, it’s important for me to have creative control and it’s important for me to have financial backing because I want to make music that tells a long-lasting story. Financial backing is a huge advantage of being signed because as independent artists everything comes out of our own pockets or is a favour from a friend.

Money matters, has music been able to sustain you financially?

The short answer is no and that’s why I’ve been so close to quitting music so many times. I haven’t even made 5k from music and this is because I’m (not just) a woman but I rap and my music is something you have to listen to and feel. The last three records I made were more ‘hype’ because I wanted to perform more, but that made me realize that there’s no need for me to change my style. My authenticity is what will attract my crowd, especially now because there aren’t any live performances I’ve just been concentrating on making music that I like.

From what you’ve observed from other woman rappers, what is a positive redirection within the group?

We’re so powerful! Everyone’s got that “we’re gonna eat at the end of the day” mindset. I feel like we’re not afraid of collaboration and we’re not afraid of changing the game, a lot of the women rappers who are visible right now are doing their own thing in their lane and shifting the culture within that space.

Before the pandemic, I had quit music and I thought it was for good. My manager called me randomly and asked me to come and perform and it was random because I hadn’t performed or made music in ages at that point. I agreed to the performance and my performance that day shook me, I remembered how much I love doing this and just how powerful I am or can be if I allow myself to be. I decided to come back to music for real this time.

I’ve quit my job and have been working on putting this EP together. The pandemic has helped me settle into who I am as a rapper and I think that’s why I’m finally ready to release a full body of work.

When you look at War Cry and at the EP you’re getting ready to release, how do you think you’ve evolved as an artist?

This is will be my first full body of work and I think because I have a lot more stories to tell it’s going to be more lyrically interesting and diverse. This EP felt like the perfect time to go back to my more boom-bap, touchy-feely vibes because when I started rapping I wasn’t rapping I was just saying stuff (lol). My evolution has been a bit of an identity crisis and a bit of quitting but I’ve grown so much as a lyricist, as a rapper, and as a visual artist so I’m hoping to share more music as well as more visuals so that people can start putting a face to the name.

Who is one person you would like to play your music for and what’s the first track you would play?

Definitely my dad. We had such a rocky relationship but I worked through a lot of that trauma through music and I would love for him to hear that I’m okay and that I forgive him and all of that healing is in my lyrics. I’d love for him to hear the track Drew Bury More which is on this new project.

How did you come across rap in New Castle?

It was all by mistake. My uncle had a friend who was a rapper and at the time I was intrigued by rap and I listened to music a lot. Growing up, I used to be in charge of cleaning the kitchen, and one day as I was rapping along to my music while cleaning, my uncle’s friend heard me and invited me to the studio. So for the next three months, he was writing this song for me and I had to practice it every day; as soon as I finished cleaning I would go over to his house to practice my song. When I was finally ready to take it to the studio, I met P3 who would become my first producer and after that day I completely forgot about being a rapper for about a week until my uncle came over and sent the song to my phone and when I heard it I was like Woah, this is really me! Shortly after that, I started writing my own lyrics.

How has it been working with producers who are men and how easy is it to find women producers?

I haven’t come across producers who are women accept on Twitter but I really have been wanting to work more with women producers, rappers, singers, dancers - ALL OF IT. I want to create a safe space for myself and surround myself with like-minded people and then maybe I’ll stop quitting music because I won’t feel so misunderstood.

Interview by Garry Changwe

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entse is an adventurer, a teacher, and a learner. She’s a spiritual entity experiencing this human experience.

She also associates herself with a different art form, she states, “With me being a musician, yes it is a part of me, but I don’t like describing myself as an artist. I’d rather define myself as my values and how I connect with the universe.”

Let’s talk about making music, or art rather, as I like calling it, we have received, and for some of us to some extent have embodied the statement and attitude of “Don’t care (let your eyes bleed)- is there more music on the way that we can immerse ourselves in?

So my EP is dropping on the 30th of April and I’m very excited about that. With two singles on the way, my first single is coming out on the 12th of March and the second on the 9th of April, and the full body on the 30th. I’m very excited because it’s still Fentse it’s just ‘more refined’ from Don’t care, and the story that I’m telling is quite ‘in your face’. You won’t have to try and figure out what is going on in this EP, there is a story and I feel like everyone is going to get it. I don’t want to say much, I also want everyone to say ‘this is what I got from the EP’, and then at the end, I’ll summarize what’s happening. I want the public to experience the project without me giving too much away. The project is Get it Together so people will already be like oh what are we getting together OK cool. This project is super universal and super relatable. I’m not trying to confuse people, I feel like right now I’m in a space of simplicity it’s more found to me than complexity and I just want people to get it. I want it to be simple clear cut but still a beautiful magical project.

Are there any collaborations coming about that we can start getting excited about?

No, it’s just a Fentse project.

From what you have observed about the women in the RnB industry scene, what can you say is a common positive redirector that’s shifting the South African music industry?

I know a lot of people who are making music, beautiful music, and artists who are doing R&B, alternative, and the likes, it’s just that it hasn’t become a big success. However, I do feel like the person that had the biggest recognition in terms of redirecting RnB and music in South Africa as a woman, is Elaine. I think she

did the damn thing to be done. I’m also very blessed to have her on my side through completing this project whenever I was struggling with producers and the industry and making the music.

We also have Joda Kgosi and she’s a superstar who is just doing her thing and so beautifully as well, and I am just loving it. I’m loving women doing their thing so beautifully and successfully as well.

What challenges have you come across as an upcoming artist in this broad industry?

I am an independent artist who knows how to make music and that’s what I love. This is followed by the nitty-gritty elements of making revenue and certain allocations of some of that revenue.

Having a brand image and the pressures and uncertainties of whether or not I need a manager or a team to make the best quality of music has also been a challenging aspect. From a generally more relatable perspective, the stress of affording studio time and the general accessibility to such is a challenge for most upcoming artists in South Africa. Another challenge would be gatekeeping in South Africa. South Africa perpetuates a certain narrative around South African music and the main industry that gets chosen to be played is more ‘international based’ instead of shining light on local artists. So all those issues as well as navigating this industry space and trying not to be negative on my journey has been quite a trip.

In using the tool of “manifestation”, where do you see yourself in the future? ( that of which can literally be tomorrow).

I believe in the beauty of what it means to be a multi-faceted human being. Music is a part of my purpose but it isn’t my only purpose. I still obviously have my basic dreams of accepting my Grammy Awards but for now I’m still figuring myself where I see myself going in music. I could switch up and go the production route as I enjoy making music from scratch or maybe set design because I am an architecture student and I love set design. I could build an experience such as a museum that is dedicated to music and focused on how sound moves around the building.

So all in all anything that allows me to create these magical moments, is what I manifest for myself in the future.

Interview by Ntokozo Mabuza

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eabetswe Filah Renamane is an artist based in South Africa Pretoria. She moved to the states and lived there for five years, after which she moved to Indonesia and lived there for another five years. Her sound carries a soft melodic rhythm with a touch of imperfection.

The beauty of her sound lays in its ability to evoke the multifaceted nature of human emotion.

Please walk us through your journey as an artist, from the beginning to where you are now.

I think prior to Filahsofy I was in a situation where I was in a musical conglomerate and there was so much pressure in that vehicle to be what is hot, what is current, and what is popping right now. When I left that situation, I didn’t have much to lose other than just be myself. Filahsofy was born from the experiences I had in that situation, from other romantic experiences, and from the need to be authentic and do what I know and am capable of doing. On top of that, we have this thing that we do in the industry where a certain genre or a certain style of music is really popular and we think everyone needs to jump on that. So I think the problem with that is it undermines the audience by assuming that you know what they want. An audience doesn’t know what they want until a specific artist does what they do. We didn’t know that we needed a Shekinah in our industry but she came along and did what she did, through these beats that we weren’t used to hearing from a black girl on the radio. It’s the same thing with Elaine, and you can even go back to people like Brenda Fassie.

People don’t know what they need until they are exposed to something different. So the same thing goes for the new surge of R&b in the country. We are a dancing nation and we like beats but we are realizing now that we also really like R&B and it took artists who were willing to do R&B to show us that.

Was breaking into the industry difficult for you?

It was weird because in the months prior to Filahsofy everything about me as a person was just so undone, I was severely depressed and had severe anxiety. I was dealing with rejection on so many levels, rejection on the music level, rejection on colorism and so many plains and spectrums that I didn’t think were possible and when I started writing Filahsofy it was almost like a joke in the beginning. I just thought, am I just going to write about how shitty everything is? So I am rocky and I’m comfortable with being rocky, it puts me in a position where I am willing to learn things. I was more concerned with trying to understand myself- that’s the fundamental message there. I just wanted to understand myself, my music, and what came out was a result of that. So even though it was a scary process, it was like an internal clock that you feel inside and I felt that this is necessary and that I have to do this, not just for people to connect with but just for me.

I wasn’t even sure people would connect to Filahsofy and I had a feeling people would hate it because I was scared. After all, it is so raw.

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What has this pandemic taught you about your music, your thinking/creating process, and the performing scene?

Is it still teaching you about yourself and your artistry?

The pandemic was a serious blessing in disguise for me because in the situation I was in, I was always around people but I was lonely and people were always needing me and expecting things from me and I was never introspecting. So the pandemic really put me in space where I had to think about it, this is your future and this is your opportunity to do it, so what do you have to lose?

It also gave me that confidence because I was doing everything in isolation and nobody was watching, so all these ideas I had in my head were my own and I wasn’t looking at anybody.

From a creative perspective, it definitely helped me. In terms of adaptability, I think the music needs to stop projecting where it is going to go or what it’s meant to be because we have been proven wrong so many times. Some businessmen had an airtight strategy on making money when it came to touring and shows and you can’t even do that anymore. So since you can’t do that anymore, this is such a great opportunity for artists to set up in the business department and figure out how we can take this industry back and define it for ourselves. We need to get more proactive, and being proactive in your dreams is not just making the music and putting it out there, it’s about understanding the business.

How have you found the business of the RnB space? Are you currently signed to any management company? What are your views on independence vs being signed?

I am technically independent and I prefer it. I know a lot of artists prefer it too but when labels are showing interest and telling you that your look works, your sound works, and everything works it’s really difficult to say no when they are offering you a budget for your music videos, distributions and every tool you need to make your dreams come true. And we have seen this with artists who have signed years ago, you start to lose creative control and creative control is such a superpower that we don’t see it for what it is in the beginning. We just say we are hustling or we are broke and independent. However, to have financial control over your own stuff is priceless because you never know what project or what song is going to be the thing that drives you to your destiny. To have that then have it reduced to a little 12% because label heads and A&Rs had to be paid. It’s a punch in the gut. So I would say stay as independent as you can be for as long as you can but if you do have a label that is offering a distribution deal or something to help you get your music out faster and more effectively, then I would say one should consider it.

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Please share some of the Tricks and trade you learned throughout your career, for some wanting to enter into the industry Sounds corny but stay true to yourself.

• Have a solid team ( it doesn’t have to be 30 people but a team of people who keep you grounded, be honest and want the best for you). Not everyone who is riding with you is riding for you.

• Be curious about A&R and people in the industry, they will compliment you and tell you what you need so that they make you feel like you need them. So, gain your self-awareness very early. The music industry is not accommodating of insecurity.

• Be yourself and love what you do ( the moment you stop loving the process and the music then what are you doing?)

In using the tool of “manifestation”,? What is the vision going forward? ( that of which can literally be tomorrow).

The project that is coming up probably in June is quite different from Filahsofy but not in the way that you lose the essence of Filah or anything like that and it is not sellout-ish either. It’s just an exploration of different facets of my ability in terms of composing because I composed at least 40% of the songs. Music is such a personal experience for me because when I am in the process of making music, it demands to be made, if I am going to sing a certain way, it’s because that’s what my soul wants and that’s what the music wants. It’s like a spirit and it comes over you and you have control but not as much as you think you do and that is so personal. When I think about the project that is coming out now, I think about the melodies and the words and the beats, I almost couldn’t help that process, the spirit of music demanded it and it felt right. So I am hoping that people ride with it but to paraphrase what J Cole once said, “if I am performing for a crowd and only five people really like what I am doing then I am performing for those five people”. That’s how you have to approach music because the hype is temporary but the impact is forever.

Interview by Pretty Mangena

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what you do...”

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ith an infectious presence, 26-year-old Kuchi Cola will build just the right environment for sentiment, affection, and melancholy. A young Nicola Charmaine Granger would attend church, where she developed her harmonising tone - the sweet raspy one we hear now over an acapella influence. She dabbles between a decent concoction of RnB, Electronic, and Neo-Soul, while grabbing brainwaves from her go-to such as SZA, Erykah Badu, Emmavie and Take 6. (Trigger warning: rape/sexual abuse) Opening up about her sexual abuse past, The Kuchi Cola we now see in her ornamental element rose from dark spaces- those in and around herself, to now, lead forward with such refinement. She rides out her calling while making life one enticing canvas.

Please walk us through your journey as an artist, from the beginning to where you are now.

Initially, I was not interested in music. I instead enrolled for a law degree, which later became evident that it is not what I want to do. In 2017 I was raped, and for three months, I was depressed and not in contact with anyone. One day, my father came home and told me he had enrolled me at Boston College for a Music Production course and that it began the following week. Through this, I slowly went back into music and interacting with other people. My younger brother is a producer known as CCG. He made me a beat which became my first single called ‘Man on the moon.’ The song was well-received, and that is when I started taking music seriously. I used to be insecure about my voice, and the release of my single also allowed me to step out of my insecure bubble. I have been producing music since 2018, working closely with my brother.

Much like most industries these days, the South African music industry is extremely clustered. What do you think makes your music stand out, and what are some of your creative processes?

I grew up in the Seventh-day Adventist church, and many of the churches never had instruments. We use our voices for harmonies, which is also apparent in my music. I produce electronic RnB, which makes me different. I do not think anyone has a voice like mine, and the beats my brother produces are my secret weapon.

The independence vs being signed conversation, what are your thoughts on that? Are you signed or independent?

And why?

I am independent. I do, however, want the support of a label, but the freedom of an independent artist. It is hard being an independent artist because you are your manager and must market yourself. I am still waiting to attract the team that is right for me. Being signed is not bad because there are people who know the industry, and I think that support is important. However, I have met people who suggested I venture into Amapiano instead of RnB, which concerns me because I worry a record label might suggest the same thing once I am signed under them.

Let us talk about finances. Does your music sustain you?

And how do you go about charging for your gigs? Is there an industry standard?

My music does not sustain me. I receive financial support from my parents. I have been approached to work on an app called Bigo Live, and at the end of the month, the app pays you. On that platform, I have been singing and meeting new people. I have a large support base in Australia, which has since made me consider working online. That is how I have been sustaining myself as an artist. I charge based on my relationship with people and what would be beneficial for me from working with them.

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From what you have observed about the women in hip hop/ RnB/ disruptors, industry scene, what can you say is a common positive redirector that is shifting the South African music industry?

Many talented women will probably never get that recognition because of how the industry is structured. There is a friend of mine who is a good singer. She was supposed to release a project in 2019, and the producer was holding onto it because she refused to have sex with him.

That is one of the reasons why I wanted to produce for myself. I have seen multiple women coming up. I have worked with Maggz, Joda Kgosi, Rasby, and a producer called Sirius, who are all women that are coming up. Women such as Benzo and Elaine, give hope to many other women.

There is, however, still a lot to be done in the industry, which is why I offer to produce and mix for other women, for free.

What has this pandemic taught you about your music, your thinking/creating process, and the performing scene? Is it still teaching you about yourself and your artistry?

The pandemic did not change much for me. I have my little studio at home that I use to produce. The downside of the pandemic is that it interrupted my plans for live gigs, which would allow me to know which performance style works for me. However, as I said, it introduced me to Bigo Live, which is how I got approached to perform at the iVote Festival that happened during the USA elections.

In using the tool of “manifestation”, where do you see yourself in the future?

When it comes to manifestation, I want to have an impact. I want to be an artist that people hear and understand. I am passionate about Women Empowerment, so I would like to be able to have a voice. I hope my music gets me to a platform where it can make a change.

What music are you listening to right now?

Recently, I have been more focused on my music because I am releasing it soon. However, I have also been listening to Tiara Monae and Emmavie.

I listen to Fly Away by Emmavie multiple times a day. She inspires me as a female producer and allows me to feel connected to her.

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Interview by Miche Edwards

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utho Naye Manentsa, better known as Naye Ayla, is a 26-year-old RnB musician, artist, and aspiring psychologist based in Johannesburg South Africa. If you haven’t come across her latest EP, Every Feeling, released in October 2020 then you may have seen her perform with The Culture Cartel in her earlier days. You may have also heard her song Fire that featured Yungsta CPT - what we’re trying to say is that she’s been around for a while.

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The first track on the Every Feeling is IDKY, do you struggle with mental illness? How does that affect you as an artist and why did you feel it was important to share that song?

What is the creative build-up to creating a body of work such as Every Feeling? What does your creative process look like?

My creative process is quite scattered and all over the place, it all depends on the mood I’m in; I could sit in the studio for hours and come out with one line of a song, or I could write a full song in five minutes. I try to capture inspiration as it comes; when I’m walking in the street or when I’m the middle of a conversation, if a song or idea or something (even if it’s small) comes to me I’ll take a step back and record it on my phone immediately.

Tell us about your relationship with the Culture Cartel and how that came about?

This is my favorite story to tell! We were together for about two years and we met at a gig where we were all performing. They approached me after my performance and I hadn’t heard their music before and when they stepped on stage it blew my mind.

From then onwards they performed with me at all my gigs, we jammed and I learned and grew so much from that experience.

I’m definitely a better musician because I got to learn and grow with such an amazing and varied group of musicians.

As you grow in popularity and become more visible, have you felt more pressure to be visible online and in spaces like Instagram and how has that been like for you?

Yes, there is definitely a lot of pressure. I struggle a lot with social media and so I’ve had to find ways to make it work for me as well as my music. I like that people can find me and my music online but I also needed to cultivate a space where I can be my full self, that doesn’t take away from the music which is my message. I need a space where I can just enjoy being a person in the world, so I’m still figuring out my relationship with social media.

Although it’s the first track on the tracklist this was actually the last track to be added to the EP and I specifically wanted to add it because I wanted to explore another kind of feeling (because the name of the EP is Every Feeling). I wrote the song during the first part of lockdown, it was an intense time; we were all so confused and fearful and I had all this heaviness that I couldn’t explain.

Writing this song made me feel like I was explaining the feeling without actually having to, because I couldn’t.

When it comes to finances, has music been able to sustain your lively hood? And what have been the best ways you’ve found to share your music? (live performance or online platforms) Nope, music has not been able to be my bread and butter just yet. I made a lot of my musical income through performing and the pandemic shut that down just as I was making some really exciting plans which felt like a let down because I felt like I had built up all this momentum and then had to sit on it.

Are you signed under a label right now?

I currently have a distribution deal, so after the music is done, they help to get my music on all the platforms and do my marketing. I would be interested in a deal that I could tailor to my personal needs. There’s a lot of admin to being an artist and it would be nice to be able to trust a team with that and focus on creating the art.

You write music, is there a South African musician you’d like to write music for? How does collaboration usually work for you?

Collaboration has always been an organic process for me and that’s how I like to approach it. I would love to write for some artists but I have no idea who and that’s just because I could write for anyone if I’m familiar with their sound. I’m also learning how to be more confident in my Xhosa writing because I love singing in Xhosa but have only recently felt brave enough to, so I’d love to explore that more.

Interview by Garry Changwe

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ibahle is a young creative from a small town in KZN. She is a multifaceted creative, ranges from songwriter and singer to being an actress. She is passionate about the arts as she tells her story and her truth through music.

Please walk us through your journey as an artist. From the beginning to where you are now, especially with the latest ep?

I initially did not know that I could sing until I was eightyears old when I would sing along to musical movies that aired on Disney Channel. Through this realization, I joined Eisteddfod and the school choir until I completed High School. The first song I recorded in the studio became my debut single. Furthermore, the recording of my single confirmed this is what I wanted to do for the rest of my life.

For those who would not know which genre to place your music in, what genre does your music fall under?

Currently, my music is RnB immersed in Hip-hop.

However, I believe that the genre I perform in could change, ranging from RnB to Amapiano. For this reason, I prefer not to identify with any genre.

From what you have observed about the RnB music industry scene, what can you say is a common positive redirector that is shifting the South African music industry?

There is an influx of confident new artists that are taking up space. The RnB genre in South Africa is growing and extending internationally too. I find it impressive to witness, considering how Hip-Hop had been the driving genre that dominated the game.

As an independent artist, what are a few things that you have learned about the industry that you wish you had known and that you would like to share with someone who is hesitant to start?

I am still in the process of learning, taking it day by day. The industry is moving at a fast pace; your hesitation is keeping you from your next level. Release that song or EP! Music is timeless; your single might not blow upimmediately, however, it could potentially become a hit the following year around the same time.

Learn on the job and take risks.

In using the tool of “manifestation”, where do you see yourself in the future?

I see myself earning money weekly, owning an apartment and a car. Moving from overlooked to overbooked, performing internationally, and collaborating with some of my favourite local artists.

Next year, I would like to release more projects and become an ambassador for different clothing lines, growing the SBX name. In a nutshell, I see more growth for SBX.

Interview by Ntokozo Mabuza

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iQhawe Magazine iQhawe Magazine is a digital publication aimed at merging the gap between aspiring creatives and their respective industries. We believe easy access to information through the growing digitalization of traditional forms to reach a wider audience which will then help eradicate the lack of resources/skills/knowledge and accessibility to the right channels faced by young aspiring creatives.

Thank you to everyone who helped make this issue possible and the IQhawe Team.

For marketing and advertising or any other enquiries please contact us at info@iqhawemagazine.com Follow us @iqhawagazine on all social media platforms.

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