Maskandi artist channels Malema
Maskandi artist channels Malema
Julius Malema’s as he is about to led the 10th anniversary of the EFF to copycat demonstrations where has been addressing the latest stunt of rising on a dais from the stage which thousands of fans love attended the concert that was arrange to hold in at the People’s Park outside Moses Mabhida Stadium.
Julius Malema took maskandi music lovers by surpise when Khuzani Mpungose appeared on a dais on sunday morning at the king at the iMpucuzeko Maskandi Festival in Durban.
The difference between the dias used by Mpungose look like the one used by electricity workers doing maintenance on electricity infrastructure and the kind of bucket lift be to used.
The crowd went crazy at the event jumping with enthusiasm and screaming Mpungose’s name as he was performing his music and packed by iMpucuzeko.
Mpungose was doing to the extend people started saying he was copying the popular American singer Beyonce.
The event later was moved to Moses Mabhida Stadium because of croeds that turns up which was not expected from the large crowds of people from the hotel, rural areas and even from other provinces. The Politicians and celebrities joined and wear the fashionable clothe for the event.
54 maskandi artist where in attendance performing their hit song on the stage one by one which make the anniversary of the iMpucuzeko Maskandi festival of one of it kind in south africa in 2013 at Curries Fountain Stadium in Durban.
eThekwini, Zandile Gumede and ANC deputy chair in KwaZulu-Natal gathered and paid R25,000 per ticket for everybody to attend the festival and Bhinca attire at the VIP tent which Nomagugu Simelane-Mngadi, turned heads
IFP Youth Brigade leaders, led by their chairperson Sanele Zondo, arrived with Amaxhosa designed T-shirts worn with Bhinca brentwood pants.
The mayor of Langalibalele Municipality in the KZN midlands, Sobholenyoni Myeza told Scrolla and maskandi music lovers turned up and heads at the event center for maskandi festival.
The Caluza Sports Centre in Edendale was packed to capacity as EFF supporters‚ including elderly women‚ waited patiently for their leadership to arrive. They were treated to performances by various artists‚ including maskandi‚ hip-hop and rap performers.
When Malema and the party’s leadership did arrive‚ the hall erupted into a cacophony of ululation and whistling. The leaders walked in through the hall’s back entrance at exactly 12.45pm. He brought the house down as he and EFF’s top brass‚ including his deputy Floyd Shivambu‚ secretary general Godrich Gardee‚ deputy secretary Hlengiwe Mkhaliphi and national chairperson Dali Mpofu‚ walked to the stage. There were also other EFF MPs in attendance.
Hundreds of EFF supporters braved the chilly weather in the KwaZulu-Natal capital on Thursday to attend the red brigade’s Women’s Day celebrations‚ which was also used as a launching pad for their campaigning ahead of 2019 elections.
Digital maskandi isn’t about pushing boundaries, it’s about doing away with them completely,” says Mashayabhuqe KaMamba.
“Everything I’ve ever released is just me taking all my influences and the world as I see it and putting it in the music,” he continues on the other end of the phone.
Saturday April 28. Four years ago, almost to the day, the then-little known musician had a breakout performance at the annual Back to the City festival. Given just under 15 minutes, he was one of the festival’s highlights, performing his debut EP The Black Excellence Show and introducing the world to his nascent digital maskandi sound.
Not since Jozi’s Muthaland Crunk had a South African artist blended maskandi and hip-hop so effectively. But whereas the trio of Da Les, Bongani Fassie and Crazy Lu’s blend of Zulu rhythms and crunk was decidedly in the realm of party music, Mashayabhuqe’s sound is a bit more avant-garde in its execution. Channelling influences from Busi Mhlongo and Madala Kunene to Kanye West and Bon Iver, the result is the 808-laden, autotune-heavy musings on the collapse of traditionalism and spirituality.
Heaven Blues/Emaweni – the first song on his latest EP, Nguniversal – starts with a looping folk guitar before erupting with trap drums and distorted vocals.
Similarly, his 2014 single Impendulo ka Baba begins with an interlude by the late Busi Mhlongo, before segueing into fast-swinging trap drums and loud synthesisers.
Izayoni Tribute – a tribute to his maternal grandmother – kicks off with distorted vocals reminiscent of My Beautiful Dark Twisted Fantasy-era Kanye West, before switching to a trap-brass melody and heavy drumwork.
It’s not so much music as it as a collision of two opposing generations, with Mashayabhuqe acting as the interlocutor.
“I think I’ve grown a lot since my first release,” he adds. “I co-produced all of the records on my most recent project and I’ve learnt to channel my energy during performances much better. I’m not too concerned with titles – being called the creator of this or that genre. At the end of it, digital maskandi is about opening yourself to the unknown and letting it work through you. This whole thing is bigger than me.”
It’s a sentiment shared by Vosloorus-based artist A$AP Shembe. “I’m not too sure what to call my music,” he admits. “I reckon I’m just a messenger relaying my ancestors’ messages to the material world. It’s a spiritual thing.”
Like Mashayabhuqe, his music is influenced by traditional Zulu music (he cites Mhlongo, Phuzekemisi and Vusi Ximba as influences). But whereas the digital maskandi originator warns against losing one’s way in the face of modernism, Shembe’s music is animated by the violence and hardship around him.
“My name’s short for Aba Sindisiwe Aba Pheli Shembe,” he says. “I’m from a place that’s colloquially called ‘Enyokeni’ in Vosloorus and we have a saying there that goes, ‘Once lakugwinya, kunzima ukuphuma [Once the place swallows you in, it’s hard to escape]
maskandi festival is always the best artist are there performing good music.