Catching Up With Cape Town Producer Wildebeats Fresh From The UK

Okayafrica caught up with Cape Town's Wildebeats following his trip to the UK to perform at the Roundhouse in London.

Photo by Core Wreckah

In the aftermath of Live Magazine South Africa and The British Council's FutureMusic “mini-tour” series in JHB and Cape Town, which included performances from the likes of BLK JKS (ZA), DJ Fonque (ZA), DJ Mma Tseleng (ZA), Zaki Ibrahim (ZA/Canada), Okmalumkoolkat (ZA), Dirty Paraffin (ZA), Christian Tiger School (ZA) and more, hip-hop-house-inspired electronic beatmaker Mohato Lekena, aka Wildebeats, was selected (along with the Brother Moves On) to travel to the UK and perform at the Roundhouse in London. Fresh from spreading love for South Africa's beats scene in frosty London, Mo had a quick chat with us to talk #futuremusicrising, electronic music and the intricacies of both scenes, at home and abroad. Read our full interview below and watch Wildebeats' whole set recorded live from the Roundhouse over here.

Shiba for OKA: Welcome home! So tell us a bit about the competition and what it took to win the trip.

Mo (Wildebeats): It was essentially a three stage competition, that started with people first submitting information such as a bios, soundcloud pages and youtube links. 86 people entered at this stage, and from these 6 were chosen to perform either in Cape Town or Joburg, and from these 6, two were chosen for the UK. So basically dope music and a bit of luck is what it took for me to win

OKA: What were the first few days like? Did you manage to do a little crate digging while out there?

Mo: Overwhelming! It took like 5 hours after landing for me to actually talk to a Brit because there’s people from all over the place there, and so many to meet. Looking for vinyl records was also crazy because you have to go in looking for specific things, not just saying you’ll see what's good, because they have so much good stuff. I’m pretty proud of the bounty I came back with though. What was mad was listening to the radio that side, because it sounded just like some local stations, like 5fm, except that all the music was local for them in the UK. They even played more music from North and West Africa than I might hear here.

OKA: I can imagine how trippy that must have been. Tell us about the 22Tracks mix. All of the tracks are by electronic artists from South Africa, yeah? How did you go about selecting those?

Mo: It was actually pretty difficult, because there’s so much dope music but you always want to balance just putting personal favourites and representing a scene or whatever. So after much meditating on the peak of Lions Head I just decided to go with stuff I had been listening to over the past weeks. This was stuff that I had found through local blogs, word of mouth and live gigs.

OKA: Tell us what it was like live at The Roundhouse...

Mo: The Roundhouse is so much more than just a venue, and it is actually round. Playing there live, knowing who had played before, was crazy for me. After the performance though, after having seen and met the other headliners from the UK I really feel like I, and by extension all my musician homies back in SA, aren't that far off from that level, in terms of performance.

OKA: How do the scenes in the UK and SA differ? I mean, with the scene, comes a certain type of people, the ways in which they party and the places they express themselves in. If you could draw parallels between the two places, what would they be?

Mo: I really got the feeling that more people that side treat their music careers as work - not that they don't enjoy themselves, just that they're that serious and focussed about getting things done and know the steps towards doing them quickly. The whole time I was at The Roundhouse there were always some dudes around practicing Mixing on some CDJs or performing to themselves in tiny rooms just to make sure they’re tight.

Maybe the biggest difference in terms of the party scene there is probably infrastructure and numbers. There are enough people going out in the city that no matter how small a percentage of the population a particular sub scene relates too it's still a large number of people supporting it. So big clubs could pack out to underground and weird DJs, and because it's fans in there they’ll dance till 7am when the club closes. I guess when you’re facing potential frostbite everytime you go to the club it means you’re dedicated to the cause.

Being honest though, its difficult to sum up an entire scene.

OKA: What’s trendy out there right now? Is it the "scramble" for Africa[n music] like some might think?

Mo: I heard a lot of deep tech and deep house while I was out there, and we all know South Africa are the secret (not so secret) kinds of deep house. I also did hear a lot of Nigerian pop, which was seriously refreshing. While I’m not sure what constitutes a scramble, there is a healthy and growing respect for music coming out of the continent. I think I saw the John Wizards LP in almost every store I went to.

OKA: What was the reception like to the South African sound, and what stood out most for you on your trip?

Mo: The great energy that our music was received with that side. Having been there I can see that there are a lot of South African artists who I think could own that side, but also a lot of growth our scene still has to experience. I’m really glad to have been able to gain all this perspective.


Introducing OkayAfrica's 100 Women 2020 List

Celebrating African Women Laying the Groundwork for the Future

It would not be hyperbole to consider the individuals we're honoring for OkayAfrica's 100 Women 2020 list as architects of the future.

This is to say that these women are building infrastructure, both literally and metaphorically, for future generations in Africa and in the Diaspora. And they are doing so intentionally, reaching back, laterally, and forward to bridge gaps and make sure the steps they built—and not without hard work, mines of microaggressions, and challenges—are sturdy enough for the next ascent.

In short, the women on this year's list are laying the groundwork for other women to follow. It's what late author and American novelist Toni Morrison would call your "real job."

"I tell my students, 'When you get these jobs that you have been so brilliantly trained for, just remember that your real job is that if you are free, you need to free somebody else. If you have some power, then your job is to empower somebody else."

And that's what inspired us in the curation of this year's list. Our honorees use various mediums to get the job done—DJ's, fashion designers, historians, anthropologists, and even venture capitalists—but each with the mission to clear the road ahead for generations to come. Incredible African women like Eden Ghebreselassie, a marketing lead at ESPN who created a non-profit to fight energy poverty in Eritrea; or Baratang Miya, who is quite literally building technology clubs for disadvantaged youth in South Africa.

There are the builds that aren't physically tangible—movements that inspire women to show up confidently in their skin, like Enam Asiama's quest to normalize plus-sized bodies and Frédérique (Freddie) Harrel's push for Black and African women to embrace the kink and curl of their hair.

And then there are those who use their words to build power, to take control of the narrative, and to usher in true inclusion and equity. Journalists, (sisters Nikki and Lola Ogunnaike), a novelist (Oyinkan Braithwaite), a media maven (Yolisa Phahle), and a number of historians (Nana Oforiatta Ayim, Leïla Sy) to name a few.

In a time of uncertainty in the world, there's assuredness in the mission to bring up our people. We know this moment of global challenge won't last. It is why we are moving forward to share this labor of love with you, our trusted and loyal audience. We hope that this list serves as a beacon for you during this moment—insurance that future generations will be alright. And we have our honorees to thank for securing that future.


The annual OkayAfrica 100 Women List is our effort to acknowledge and uplift African women, not only as a resource that has and will continue to enrich the world we live in, but as a group that deserves to be recognized, reinforced and treasured on a global scale. In the spirit of building infrastructure, this year's list will go beyond the month of March (Women's History Month in America) and close in September during Women's Month in South Africa.

100 women 2020

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The African Giant has, over the years, built a remarkable musical identity around the ardent blend of dancehall, hip-hop, reggae, R&B, and afropop to create a game-changing genre he calls afro-fusion. The result has been top tier singles, phenomenal collaborations, and global stardom—with several accolades under his belt which include a Grammy nomination and African Giant earning a spot on many publications' best albums of 2019.

We thought to delve into his hit-filled discography to bring you The 20 Essential Burna Boy Songs.

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If you're having a tough time recalling the last movie you watched from Djibouti, it's likely because you have never watched one before. With an almost non-existent film industry in the country, Lula Ali Ismaïl, tells a beautiful coming of age story of three young female Djiboutian teenagers at the cusp of womanhood. Dhalinyaro offers a never-before-seen view of Djibouti City as a stunning, dynamic city that blends modernity and tradition—a city in which the youth, like all youth everywhere, struggle to decide what their futures will look like. It's a beautiful story of friendship, family, dreams and love from a female filmmaker who wants to tell a "universal story of youth," but set in the country she loves—Djibouti.

The story revolves around the lives of three young friends from different socio-economic backgrounds, with completely varied attitudes towards life, but bound by a deep friendship. There is Asma, the conservative academic genius who dreams of going to medical school and hails from a modest family. Hibo, a rebellious, liberal, spoiled girl from a very wealthy family who learns to be a better friend as the film evolves and finally Deka. Deka is the binding force in the friendship, a brilliant though sometimes naïve teen who finds herself torn between her divorced mother's ambitions to give her a better life having saved up all her life for her to go to university abroad, and her own conviction that she wants to study and succeed in her own country.

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Stogie T just shared a deluxe version of his 2019 EP The Empire of Sheep titled EP The Empire of Sheep (Deluxe Unmasked). The project comes with three new songs. "All You Do Is Talk" features fellow South African rappers Nasty C, Boity and Nadia Nakai. New York lyricist appears on "Bad Luck" while one of Stogie T's favorite collaborators Ziyon appears on "The Making."

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