15 South African Female Musicians Pushing the Boundaries

These 15 South African women aren't playing by the rules.

August is Women's Month in South Africa.

From poets to rappers to producers and everything in between, South African women artists have always shaped the country's musical landscape. And they don't always play by the rules.

Take for instance, Zoë Modiga's accessible brand of jazz, which is still uncompromisingly jazz, Andy Mkosi who incorporates photography into her music, or Sho Madjozi who is bringing Tsonga dance into pop culture by mixing it with her raps and gqom beats.

Below, we list 15 exciting young women musicians who we believe are pushing boundaries in their craft and how they present it. Listed in no particular order.

Sho Madjozi

Photo by Sabelo Mkhabela.

Sho Madjozi, who is also known as Maya The Poet, is a breath of fresh air, there's no less cliché way to put it. She raps mostly in her mother tongue XiTsonga, a language of the marginalized Tsonga tribe. She fuses her hip-hop with house music and some elements of XiTsonga music. Another interesting element of Sho Madjozi's music are her live performances, in which she does the infamous XiTsonga dance—shaking what her mama gave her like there's no tomorrow. Her single “Dumi Hi Phone" and her appearances on OkMalumKoolKat's album Mlazi Milano, PH's The Break, Wanlov The Kubolor's Orange Card: Fruitopian Raps are some of her many highlights thus far.

Zoë Modiga

Image via Zoë Modiga's Twitter.

Zoë Modiga's a well-rounded jazz musician—she has a great voice, is a great composer, and her live performance game makes her one of the best around. But what sets her apart is her approach to jazz. Her brand of the genre is more accessible to music fans who aren't necessarily jazz heads (and the jazz heads love her too). On her debut album, Yellow the Novel, she flirts with pop and R&B on songs like “Uh Oh (Sensible Life)" and “Love (Yaweh)."

Revisit our interview with Zoë Modiga here.

Andy Mkosi

Photo by Sabelo Mkhabela.

On the surface, Andy Mkosi is just another potent lyricist. But the way she presents her music puts her peers to shame. She understands that her music doesn't work in clubs. So she decided to bring her music to her listeners' homes in her successful Bedroom Tour, in which she performs to an intimate audience in a fan's house. Her latest EP This Audio Is Visual is followed by photography—she interpreted every song on the project with a photograph. She is giving this project another life in an exhibition of the images that accompany her music.

Revisit our interview with Andy Mkosi here.

Fifi TheRaiblaster

Fifi The RaiBlaster at Iapetus Records studios. Photo: Sabelo Mkhabela

Fif The RaiBlaster is as leftfield as they come. Working with Iapetus Records, a label that prides itself in being free from the mainstream music machine, she fits perfectly. She and her producer Kanif The JhatMaster conjure the most sophisticated combination of vocals and hauntingly beautiful music. She becomes an otherworldly character in her music videos which have touches of science fiction and spirituality. The visuals go well with her lyrics which explore everything from love to astronomy and astrology. Her music doesn't fit any designated genre, as she creates her own rules.

Revisit our interview with Fifi TheRaiBlaster about her latest album Black Matter here.

Push Push

Cape Town-based rapper Push Push is an oxymoron. There's both innocence and ferocity in her voice. Then there are her obnoxiously explicit lyrics—she cares less how you feel about her. Push Push is confident and doesn't care if it intimidates you—actually she prefers that. Her rhymes and character sit well over her preferred beat style, which is mostly bass-heavy EDM-centric beats that induce a booty-shake as much as they do a head-bob.

Nadia Nakai

Photo by Sabelo Mkhabela.

Zimbabwean-born Nadia Nakai is signed to Cassper Nyovest's Family Tree imprint. While a reasonable number of critics may question her use of her voluptuous body for attention, she owns it so well you can't help but respect her for it. She raps about sex unapologetically, and that earned her two verses on Stogie T's self-titled album last year. She shows her body off on music videos and live performances in an environment that's constantly trying to tame her. And her charisma does her more good than bad.

Melo B Jones

Melo B Jones's music is a cross between neo soul and R&B. In a country where most singers of her caliber usually find themselves being house vocalists or doing afro pop, she's sticking to her lane. She's worked with artists such as Ill Skillz and Reason among others. Melo is having fun with her art—a few years ago, she posted covers of hip-hop hits on her SoundCloud page, which eventually became a trend other singers hopped on. The singer's latest EP The Start is an early Christmas gift for the lover of R&B and neo soul—she tells tales of love, champagne and situationships over polished boom bap beats.


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Eastern Cape-born musician Msaki's music is a blend of jazz and folk. Her voice is midway between a falsetto and alto, which, needless to say, is great for your ears. The soul and sincerity in her music is reminiscent of Joan Armatrading and Tracy Chapman. But Msaki's abilities stretch beyond that, as she has appeared on house songs by the likes of Mobi Dixon (“Love Color Spin") and Revolution (“Spring Tide"). Her album Zaneliza: How The Water Moves is a perfect listen for a Sunday morning.

Nonku Phiri

Image courtesy of artist.

Nonku Phiri is a maverick. The artists she collaborates with are unpredictable. Staying true to her hip-hop roots, she has worked with Ill Skillz, Tumi Molekane, Zeus, Camo, among others. But her hits come when she blends her vocals with experimental electronic production—she has made magic with the likes of Card On Spokes, Branko, PH Fat, Mr. Carmack on hits such as “Things We Do On The Weekend," “Let Me Go," and more. Beyond singing, she can also spit some raps under the moniker Jung Freud.

Patty Monroe

Photo by Sabelo Mkhabela.

Patty Monroe introduced herself to the South African music scene in pure style through her single “High Fashion." On the song she rapped over a skittering house instrumental by house music legend Culo De Song. Her single “Killin' It," featuring Uganda's Bebe Cool, saw her explore the concept of rapping over dance music instrumentals, which put her on her own lane. Her trap single “Talk," which was produced by Durban hitmaker Sketchy Bongo, proved she could rap over anything thrown her way. Her debut album Malatjie gives a clear picture of what she's trying to achieve—the album has pop songs, and she goes beyond rapping, as she sings on some songs, to a point where it's difficult to categorize her craft according to genre.


Image courtesy of artist.

It's rare to find women who produce in the South African music scene. The Joburg-based sister duo, Kajama, consists of Nandi and Nongoma Ndlovu, is here to disrupt the status quo. Nandi handles most of the duo's production. Their music is a blend of electronic music with sprinkles of East Coast hip-hop. Their soulful vocals float over spacious beats to create a futuristic sound you won't hear anywhere else except on their debut EP, Polarity Prism, which also features production from electronic music mainstay Micr. Pluto.


Photo by Sabelo MKhabela.

Shekhinah has the potential to be a worldwide superstar. She makes catchy and memorable songs without being corny and repetitive. On songs like “Back To The Beach," “On It," “Let You Know," among others, she displays versatility as she sings over different production styles. Her writing is solid, and she sings effortlessly. With her debut album, which is due out sometime this year, she could change R&B and pop music in South Africa, with her unique approach to the genre, which plays around with EDM.

Read our interview with Shekhinah about her upcoming album here.

Dope Saint Jude

Dope Saint Jude 'Reimagine' artwork by The Seppis

Cape Town-based rapper Dope Saint Jude has carved her own lane, which has seen her getting handpicked by M.I.A for a campaign. It has also seen her perform in some parts of Europe and the US. Maybe her music won't get to shake the the South African mainstream scene the way it does her niche fanbase. But her subversive lyricism which covers subjects like racism, sexuality, sexism and more, makes her an important voice of a generation that is dismantling all the isms it faces.

Read our interview with Dope Saint Jude about her debut EP Imagine here.


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Durban-based rapper OtarelWorld is not riding the incumbent trap bandwagon. She's unapologetically 90s—she spits backpack raps over sample-laden boom bap production. While modern rap places a lot of emphasis on catchy hooks and hard-hitting 808s and bass lines, OtarelWorld puts lyricism first over every other shenanigan. Her debut mixtape Dirty All Stars is a true gift for the boom bap head, and is mixed by Grandmaster Ready D, which is a rare opportunity that not many emcees have had.


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Trap soul is slowly taking off in South Africa, but it has mostly been a men's game. Pretoria's Thando Nje has been steadily building her name through her SoundCloud releases. What sets her apart from most R&B singers of today is that she hardly ever uses autotune on her vocals. She laces those cloudy pads and deep basslines with her natural voice, telling tales of love with enviable flair. Thando Nje is prolific—she has already released two projects in 2017 alone, TrustNje and New Age Soul. Also, don't sleep on her covers.


The 12 Songs You Need to Hear This Week

Featuring Sarkodie, Cassper Nyovest, Elaine, Darkovibes, Stogie T, Phyno, C Natty, and more.

Every week, we highlight the cream of the crop in music through our best music of the week column.

Here's our round up of the best tracks and music videos that came across our desks, which you can also check out in our Songs You Need to Hear This Week playlists on Spotify and Apple Music.

Follow our SONGS YOU NEED TO HEAR THIS WEEK playlist on Spotify here and Apple Music here.

Check out all of OkayAfrica's playlists on Spotify and Apple Music.

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News Brief

Sarkodie Hits Hard With His Latest Single 'Sub Zero'

The Ghanaian heavyweight rapper shows up with the fire bars over an Altra Nova-produced beat.

Sarkodie has dropped a new aggressive track in the shape of "Sub Zero."

"Sub Zero" follows the star Ghanaian rapper as he throws back criticisms that have come his way from other rappers with his own ice cold flow. The new track was produced by Ghanaian beatmaker Altra Nova and mixed by PEE On Da BeaT.

"Sub Zero" follows Sarkodie's turn-up single "Bumper," which dropped bak in February.

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Photo courtesy of CNOA

These Colombian Civil Rights Activists Are Fighting to Make Sure Afro-Colombians are Counted in the Census

When 30 percent of Colombia's Black citizens disappeared from the data overnight, a group of Afro-Colombian activists demanded an explanation.

It was the end of 2019 when various Black organizations protested in front of the census bureau—The National Institute of Statistics and Informatics (DANE)—in Bogotá, Colombia to show their dissatisfaction about what they called a "statistical genocide" of the black population. The census data, published that year, showed 2.9 million people, only 6 percent of the total population of the country, was counted as "Afro-Colombian," "Raizal," and "Palenquero"—the various terms identifying black Colombians.

For many years, Afro-Colombians have been considered the second largest ethno-racial group in the country. Regionally, Colombia has long been considered the country with the second highest number of Afro-descendants after Brazil, according to a civil society report.

Why did the population of Afro-Colombians drop so drastically?

Afro-Colombian, Black, Raizal, and Palenquero civil-rights activists protesting erasure of Afro-descendants in front of the census bureau.

Last year, a crowd of activists gathered in Bogota to protest what they saw as erasure of Black communities in the Colombian census.

Photo courtesy of CNOA

In the latest national census report from 2018/2019, there appeared to be a 30.8 percent reduction of the overall group of people that identified as Black, Afro-Colombian, Raizal, and Palenquero, as compared to the 2005. After this controversial report, an Afro-Colombian civil rights organization known as the National Conference of Afro Colombian Organizations (CNOA), officially urged DANE to explain the big undercounting of the black population.

This wasn't a small fight. Representatives who hold the special seats of Afro-Colombians in Colombia's congress asked the census bureau to attend a political control debate at the House of Representatives in November 2019 to deliver an accountability report. "The main goal of doing a political debate was to demand DANE to give us a strong reason about the mistaken data in the last census in regard to the Afro population," said Ariel Palacios, an activist and a member of CNOA.

At the debate, the state released an updated census data report saying that, almost 10 percent of the Colombian population—4.6 million people out of 50.3 million—considers themselves Afro-Colombians or other ethnicities (like Raizal, and Palenquero). But despite DANE trying to confirm the accuracy and reliability on the latest census report it was clear that, for a variety of reasons, Black people were missed by the census. The state argued that their main obstacles with data collection were related to the difficulties of the self-recognition question, as well as security reasons that didn't allow them to access certain regions. They also admitted to a lack of training, logistics and an overall lack of success in the way the data collectors conducted the census.

How could they have counted Black populations better?

Afro-Colombian, Black, Raizal, and Palenquero civil-rights activists playing drums in front of the census bureau.

Drummers performing during a protest against the Colombian census bureau's erasure of Afro-Colombians from the 2018 census.

Photo courtesy of CNOA

These arguments were not reasonable for the civil rights activists, partially because the state failed to properly partner with Afro-organizations like CNOA to conduct or facilitate extensive informational campaigns about the self-identification questions.

"CNOA has worked on self-recognition and visibility campaigns among the Afro community and this census ignored our work," says priest Emigdio Cuesta-Pino, the executive secretary of CNOA. Palacios also thinks that the majority of Afro-Colombians are aware of their identity "we self-identify because we know there is a public political debate and we know that there is a lack of investment on public policies."

That's why it is not enough to leave the statistical data to the official census bureau to ensure that Afro-Colombian communities are fully counted in the country. And the civil rights activists knows that. They made a big splash in the national media and achieved visibility in the international community.

Thanks to The Washington Office on Latin America (WOLA), a human rights organization, Palacios traveled to D.C to meet with Race and Equality institution and a Democratic Congressman. "We called for a meeting with representative Hank Johnson to talk about the implementation of Colombia's peace accords from an Afro-Colombian perspective but also to address the gross undercounts of its black population," says Palacios.

For the activists at CNOA, the statistical visibility of the Black population is one of their battles. They have fought for Afro population recognition for almost two decades. "Since the very beginning CNOA has worked on the census issue as one of our main commitments within the statistical visibility of the Afro-Colombian people," says priest Cuesta-Pina. Behind this civil organization are 270 local associations, who work for their rights and collective interests.

The activists want to raise awareness on identity. Because according to Palacios, "In Colombia, there is missing an identity debate—we don't know what we are. They [the census bureau] ask if we are black, or if we are Afro-Colombians. But what are the others being asked? If they are white, mestizo or indigenous?" Palacios believes that for "CNOA this debate is pending, and also it is relevant to know which is the character of this nation."

Afro-Colombian Populations and the Coronavirus

Afro-Colombian, Black, Raizal, and Palenquero civil-rights activists use mock coffins and statistics to protest erasure of Afro-descendants

Colombian civil-rights activist insist that undercounting Afro-descendants can have a real impact on the health of Afro-Colombian communities, especially during the COVID-19 coronavirus crisis.

Photo courtesy of CNOA

Even though the state recently "agreed with to give us a detailed census report" and make a different projection with the micro data, says Palacios, now with the Covid-19 emergency, CNOA and the government has suspended all meetings with them, including cancelling a second congressional debate and the expert round table meeting to analyze the data.

Unfortunately, it is exactly in situations like the Covid-19 emergency where data analysis and an accurate census report would have been useful. According to the professor and PhD in Sociology Edgar Benítez from Center for Afro Diasporic Studies—CEAF, "Now it is required to provide a reliable and timely information on how the contagion pattern will spread in those predominantly Afro regions in the country and what is the institutional capacity in those places to face it," says Benítez.

He adds that this information is "critical at the moment because the institutional capacity is not up to provide it at the current situation". That's why the Center for Afro Diasporic Studies plans to work with DANE information from the last census. According to Benítez, "We are thinking of making comparisons at the municipal level with the information reported in the 2018 Quality of Life Survey, in order to have a robust and extensive database as possible on the demographic, economic and social conditions of the black, afro, Raizal and Palenquera population in Colombia."

News Brief
Still from YouTube

Nigerian Officials Drop Charges Against Naira Marley for Violating Coronavirus Lockdown Order

The Nigerian star was arraigned on Wednesday for attending a party at the home of Nollywood actress Funke Akindele.

Naira Marley has been pardoned by Lagos authorities, after being arraigned in Lagos for attending a party at the home of Nollywood actress Funke Akindele last weekend, which violated the city-wide lockdown.

According to a report from Pulse Nigeria, the "Soapy" singer and two other defendants—politician Babatunde Gbadamosi and his wife—were ordered to write formal apologies to the Government of Lagos, give written assurance that he will follow the ordinance going forward, and go into self-isolation for 14 days.

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