“Should I try one last one? Yeah please, I’ve got one last one in me,” he says to his producer from the booth while recording ‘Xesha (i)’. And whether it’s another take, or producing yet another masterful album, Bongeziwe Mabandla always has one more in him to share with the world. In this case, his fourth album ‘amaXesha’.

Over a decade ago, as an unassuming new artist from the Eastern Cape, he released his first album, ‘Umlilo’. And in many ways, the choice of word (which means fire) would speak to things to come: he continues to bring heat, intensity and fire to all of his offerings. Now, releasing ‘amaXesha’, Bongeziwe Mabandla is a household name — not only in South Africa, but across the continent and indeed the planet. Bongeziwe 4.0 is here — experimenting, learning, loving and like all his albums, joining his listener in the everyday search for meaning.

When we meet, he is as he is always — neat, smartly dressed in a wool rich jersey, patient and fully in the present. After skimming texts from work and making post-interview plans, he puts his phone in his pocket and is totally still. As a person who has seen fame and success from his role in South African cult-followed soapie 'Generations', to the explosion of all his albums, he remains grounded, focused – the boy next door every listener seems to relate to. But we did not get to ‘amaXesha’ overnight and he sighs at the thought of the uncertain early days.

“When I started with my first album, I was still finding my feet. I think I’ve become more comfortable with what I do. You know with the first album; you don’t actually really know what you’re doing or whether an audience will get it and love it. You even wonder whether people think you’re talented. Now I’ve used the success of the previous albums to push me. Still, there’s always pressure to do new things but I’m also more open and it feels safer to try new things,” explains Mabandla.

“WHAT I’M TRYING TO DO IS CREATE SOMETHING THAT MIGHT AT FIRST SOUND LIKE A LOVE SONG BUT LISTENING WILL HOPEFULLY MAKE PEOPLE SEE AND FEEL EVERYTHING THAT’S UNDERNEATH”

From the early days of experimenting with pieces of wood and smashing glass to talking to his long-time producer Tiago live on the album, there’s always something new about the Bongeziwe Mabandla experience. In this album, he opens with a storm before the first track ‘sisahleleni (ii)’, an upbeat introduction driven by a powerful voice and choral background – it’s a striking sound of things to come. 

Considering his two great inspirations are Lauryn Hill and Tracy Chapman, it’s not surprising he makes work that feels so honest – one could even say it’s a bit ahead of the sound of his time. But like these two heroes, his one-of-a-kind voice, clear focus on his identity (through isiXhosa lyrics) and a desire to speak to the ‘man on the street’ has put him in a class of his own. 

The reality is however, that Bongeziwe 4.0 was forged through change, experience and the ability to be himself. He is strongly perceived by his audience as quiet, deep and retiring, but he is by no means opposed to meeting fans or talking music and life over a beer at some of our local hangouts in Johannesburg – I might add, before almost always responsibly leaving for an early night and some quiet evening.

Just a few months before this interview, his magic sucked in a friend of mine who had seen him play in London, remarking on the nostalgia of hearing South African music so far from home. From Mabandla there was no diva palm to palm thank you, no attempt to be ‘cool’ — and this everyday connection with people touched by the music is what makes each of the projects so real. But it’s not just English-speaking expats and the South African fan base, but followers across the globe who are unlikely to be able to even pronounce the word isXhosa. So, what does it mean to have an international fan base, when a large percentage don’t understand a single word? “Oh man, it’s a hard one for me, because so much of my time is spent working on the lyrics. The words are the foundation of my work. So, it’s surprising; but I guess it also means that those words — even if you don’t understand them, are coming across to you in a sincere way through the sound. That’s kind of special,” he shares.

The movement between word and sound is clear in the upcoming album and was clear to South African photographer Travys Owen, whose images captured this in his signature style. Currently based in the US, but also hailing from Mabandla’s home province of the Eastern Cape, the synergy was natural. When we catch up via text, Owen — who is famously discerning about his projects — is excited to talk about the collaboration. “I have been waiting for the opportunity to create images with Bongeziwe for a while. I loved the previous album so much and when listening to the new one there are subtle differences – more of an electronic/synth feeling to some of the songs, which was such a pleasant surprise. So, we spoke about colouring the images to try matching the feelings of each song with an image in the selection process,” he explains.

Owen has totally nailed the heart of the new album. Each song can stand along with its own energy, but it is still fluid and cohesive – each listener will come away having found their own favourite. For me, finding a favourite was much like the first time I heard Mangaliso — flipping pancakes and two songs in, wanting to cry. When I tell him this, he laughs, saying some people do have a strong emotional reaction to the music. The listener gets the ‘I thought it, but you said it,’ experience wrapped in great vocals, tiny instrumental motifs and sometimes with tracks like the driving single ‘Ndikahle’, also just a good time.

When I steer the conversation towards the release of the album, he is both excited and curious about how it will be received. “People tell me I should collaborate with this person or do a feature with a rapper. And that’s cool, but it’s meant I’ve always had to fight for my sound, which is not always what’s hot. But really what I’m trying to do is create something that might at first sound like a love song. The words make it a love song. But listening will hopefully make people see and feel everything that’s underneath,” he shares.

In this album the mix of sounds is effortlessly executed: rolling drumbeats and some seriously unexpected nods to deep tech style — the type of music that’s perfect for the focused work day (think the now famous LoFi study album on YouTube) or at an open-air party. But it’s not all new because words remain king. The lyrics have multiple layers, tackling love, a search for meaning and belonging, and even family ties – some good, some more complicated. There’s even a musical interlude from none other than Mabandla’s mother, whose voice seems to speak directly into her son’s talent. I ask what it’s going to be like having his family listen to an album which includes and references them. “Eish, I’m not sure how they’re going to receive it. I asked my mother to do a recording and it was crystal clear. We had to use it and it was a new way for us to connect.”

The fight for authenticity has been crucial to Mabandla’s success and thanks to him, a new wave of indigenous language artists have started to share centre-stage, his music acting like a door swinging open to like-minded sound-makers. Like him, they lean into culture and expression and while he is clearly highly regarded by audiences, this applies to artists as well. “Besides being all our crush, I have learned to admire his sensitivity and vulnerability that he shares and as a fellow sensitive creative, it’s not only beautiful but also affirming,” says TshiVenda artist Muneyi, whose music shines a light on a less represented language in South Africa and similarly invites new audiences in.

“I’VE HAD PEOPLE STOP ME IN THE MIDDLE OF THE SUPERMARKET TO TELL ME HOW MUCH MY MUSIC MEANT TO THEM”

But the picture-taking with fans, connection with artists or even reading tweets is all part of an important feedback wheel for Mabandla. This is an interesting perspective considering the number of artists and public figures whose ‘role model’ status becomes too much, or they feel feedback is brutal to the music. But unlike Doja Cat’s sarcastic captions or Frank Ocean’s preference for privacy, connection with community is key for Mabandla; even when it’s humorous and fun. “I mean, of course I’m interested to know what people think. I’ve had people stop me in the middle of the supermarket to tell me how much my music meant to them. I’ve had people tell me they want to hook me up with their friend. I learned how to connect with people when I was still [acting] on 'Generations'. I love it. Of course, you get people who just don’t like it or don’t get it, but I’ve been really lucky, the response is always very warm,” he explains, laughing.

One fan in particular has not been shy about showing their appreciation for the artist, sharing releases and now living overseas, attending international performances. In anticipation of the new release, Twitter’s Mabandla evangelist @NthabiWabi chats to me in the DMs about what makes his music so special. “I discovered him on an auto-playlist on a solo drunk Friday night after a week of adulthood wringing me. I was hooked by the falsetto because I love an edgy gimmick, and I keep coming back because the songwriting doesn't try too hard to be poetic but is still profound. The production makes even the saddest songs easy to listen to so there's a Bongeziwe Mabandla for any mood and I LOVE that,” she writes.

There is no doubt that listeners are anticipating the album and they will not be disappointed because of its commitment, as always, to love, earnest sharing of experiences and the heart of Mabandla. After finishing our formal interview, we continue to chat — me gushing over the album, him being his usual modest self. I also took the opportunity to brazenly already invite myself to his future Grammys table to which he replies, “that would be the day!”

After this album, that day is not far away.

‘amaXesha’ by Bongeziwe Mabandla is out now. Discover it here.

Visit BONGEZIWE MABANDLA

“Should I try one last one? Yeah please, I’ve got one last one in me,” he says to his producer from the booth while recording ‘Xesha (i)’. And whether it’s another take, or producing yet another masterful album, Bongeziwe Mabandla always has one more in him to share with the world. In this case, his fourth album ‘amaXesha’.

Over a decade ago, as an unassuming new artist from the Eastern Cape, he released his first album, ‘Umlilo’. And in many ways, the choice of word (which means fire) would speak to things to come: he continues to bring heat, intensity and fire to all of his offerings. Now, releasing ‘amaXesha’, Bongeziwe Mabandla is a household name — not only in South Africa, but across the continent and indeed the planet. Bongeziwe 4.0 is here — experimenting, learning, loving and like all his albums, joining his listener in the everyday search for meaning.

When we meet, he is as he is always — neat, smartly dressed in a wool rich jersey, patient and fully in the present. After skimming texts from work and making post-interview plans, he puts his phone in his pocket and is totally still. As a person who has seen fame and success from his role in South African cult-followed soapie 'Generations', to the explosion of all his albums, he remains grounded, focused – the boy next door every listener seems to relate to. But we did not get to ‘amaXesha’ overnight and he sighs at the thought of the uncertain early days.

“When I started with my first album, I was still finding my feet. I think I’ve become more comfortable with what I do. You know with the first album; you don’t actually really know what you’re doing or whether an audience will get it and love it. You even wonder whether people think you’re talented. Now I’ve used the success of the previous albums to push me. Still, there’s always pressure to do new things but I’m also more open and it feels safer to try new things,” explains Mabandla.

“WHAT I’M TRYING TO DO IS CREATE SOMETHING THAT MIGHT AT FIRST SOUND LIKE A LOVE SONG BUT LISTENING WILL HOPEFULLY MAKE PEOPLE SEE AND FEEL EVERYTHING THAT’S UNDERNEATH”

From the early days of experimenting with pieces of wood and smashing glass to talking to his long-time producer Tiago live on the album, there’s always something new about the Bongeziwe Mabandla experience. In this album, he opens with a storm before the first track ‘sisahleleni (ii)’, an upbeat introduction driven by a powerful voice and choral background – it’s a striking sound of things to come. 

Considering his two great inspirations are Lauryn Hill and Tracy Chapman, it’s not surprising he makes work that feels so honest – one could even say it’s a bit ahead of the sound of his time. But like these two heroes, his one-of-a-kind voice, clear focus on his identity (through isiXhosa lyrics) and a desire to speak to the ‘man on the street’ has put him in a class of his own. 

The reality is however, that Bongeziwe 4.0 was forged through change, experience and the ability to be himself. He is strongly perceived by his audience as quiet, deep and retiring, but he is by no means opposed to meeting fans or talking music and life over a beer at some of our local hangouts in Johannesburg – I might add, before almost always responsibly leaving for an early night and some quiet evening.

Just a few months before this interview, his magic sucked in a friend of mine who had seen him play in London, remarking on the nostalgia of hearing South African music so far from home. From Mabandla there was no diva palm to palm thank you, no attempt to be ‘cool’ — and this everyday connection with people touched by the music is what makes each of the projects so real. But it’s not just English-speaking expats and the South African fan base, but followers across the globe who are unlikely to be able to even pronounce the word isXhosa.

So, what does it mean to have an international fan base, when a large percentage don’t understand a single word? “Oh man, it’s a hard one for me, because so much of my time is spent working on the lyrics. The words are the foundation of my work. So, it’s surprising; but I guess it also means that those words — even if you don’t understand them, are coming across to you in a sincere way through the sound. That’s kind of special,” he shares.

The movement between word and sound is clear in the upcoming album and was clear to South African photographer Travys Owen, whose images captured this in his signature style. Currently based in the US, but also hailing from Mabandla’s home province of the Eastern Cape, the synergy was natural. When we catch up via text, Owen — who is famously discerning about his projects — is excited to talk about the collaboration. “I have been waiting for the opportunity to create images with Bongeziwe for a while. I loved the previous album so much and when listening to the new one there are subtle differences – more of an electronic/synth feeling to some of the songs, which was such a pleasant surprise. So, we spoke about colouring the images to try matching the feelings of each song with an image in the selection process,” he explains.

Owen has totally nailed the heart of the new album. Each song can stand along with its own energy, but it is still fluid and cohesive – each listener will come away having found their own favourite. For me, finding a favourite was much like the first time I heard Mangaliso — flipping pancakes and two songs in, wanting to cry. When I tell him this, he laughs, saying some people do have a strong emotional reaction to the music. The listener gets the ‘I thought it, but you said it,’ experience wrapped in great vocals, tiny instrumental motifs and sometimes with tracks like the driving single ‘Ndikahle’, also just a good time.

When I steer the conversation towards the release of the album, he is both excited and curious about how it will be received. “People tell me I should collaborate with this person or do a feature with a rapper. And that’s cool, but it’s meant I’ve always had to fight for my sound, which is not always what’s hot. But really what I’m trying to do is create something that might at first sound like a love song. The words make it a love song. But listening will hopefully make people see and feel everything that’s underneath,” he shares.

In this album the mix of sounds is effortlessly executed: rolling drumbeats and some seriously unexpected nods to deep tech style — the type of music that’s perfect for the focused work day (think the now famous LoFi study album on YouTube) or at an open-air party. But it’s not all new because words remain king. The lyrics have multiple layers, tackling love, a search for meaning and belonging, and even family ties – some good, some more complicated. There’s even a musical interlude from none other than Mabandla’s mother, whose voice seems to speak directly into her son’s talent. I ask what it’s going to be like having his family listen to an album which includes and references them. “Eish, I’m not sure how they’re going to receive it. I asked my mother to do a recording and it was crystal clear. We had to use it and it was a new way for us to connect.”

The fight for authenticity has been crucial to Mabandla’s success and thanks to him, a new wave of indigenous language artists have started to share centre-stage, his music acting like a door swinging open to like-minded sound-makers. Like him, they lean into culture and expression and while he is clearly highly regarded by audiences, this applies to artists as well. “Besides being all our crush, I have learned to admire his sensitivity and vulnerability that he shares and as a fellow sensitive creative, it’s not only beautiful but also affirming,” says TshiVenda artist Muneyi, whose music shines a light on a less represented language in South Africa and similarly invites new audiences in.

“I’VE HAD PEOPLE STOP ME IN THE MIDDLE OF THE SUPERMARKET TO TELL ME HOW MUCH MY MUSIC MEANT TO THEM”

But the picture-taking with fans, connection with artists or even reading tweets is all part of an important feedback wheel for Mabandla. This is an interesting perspective considering the number of artists and public figures whose ‘role model’ status becomes too much, or they feel feedback is brutal to the music. But unlike Doja Cat’s sarcastic captions or Frank Ocean’s preference for privacy, connection with community is key for Mabandla; even when it’s humorous and fun. “I mean, of course I’m interested to know what people think. I’ve had people stop me in the middle of the supermarket to tell me how much my music meant to them. I’ve had people tell me they want to hook me up with their friend. I learned how to connect with people when I was still [acting] on 'Generations'. I love it. Of course, you get people who just don’t like it or don’t get it, but I’ve been really lucky, the response is always very warm,” he explains, laughing.

One fan in particular has not been shy about showing their appreciation for the artist, sharing releases and now living overseas, attending international performances. In anticipation of the new release, Twitter’s Mabandla evangelist @NthabiWabi chats to me in the DMs about what makes his music so special. “I discovered him on an auto-playlist on a solo drunk Friday night after a week of adulthood wringing me. I was hooked by the falsetto because I love an edgy gimmick, and I keep coming back because the songwriting doesn't try too hard to be poetic but is still profound. The production makes even the saddest songs easy to listen to so there's a Bongeziwe Mabandla for any mood and I LOVE that,” she writes.

There is no doubt that listeners are anticipating the album and they will not be disappointed because of its commitment, as always, to love, earnest sharing of experiences and the heart of Mabandla. After finishing our formal interview, we continue to chat — me gushing over the album, him being his usual modest self. I also took the opportunity to brazenly already invite myself to his future Grammys table to which he replies, “that would be the day!”

After this album, that day is not far away.

‘amaXesha’ by Bongeziwe Mabandla is out now. Discover it here.

Visit BONGEZIWE MABANDLA