Music of South Africa

The country's most internationally recognised and prominent musicians include Solomon Linda, Miriam Makeba, Hugh Masekela, Stimela, Ladysmith Black Mambazo, Ray Phiri, Abdullah Ibrahim, Wouter Kellerman, Brenda Fassie, Seether, Die Antwoord, Jeremy Loops, Yvonne Chaka Chaka, Lucky Dube, Lebo M, Goldfish, Freshlyground, Black Coffee, Anatii, Zakes Bantwini, Master KG, Nomcebo Zikode, Nasty C, and Tyla.

[2] The discovery of gold, diamonds and other minerals in South Africa during the late 1800s and early 1900s lead to a rapid urbanisation where Black people would leave their villages and move to the city/town so that they could work in the mines to earn a living.

However, due to the Natives Land Act, 1913, black people were not allowed to own property even in the city, leading to slums (at that time, townships did not exist yet as they were created during Apartheid which began in 1948) where they could live.

Bhengu's song format, which includes an instrumental introduction (izihlabo), a melody and spoken praise (ukubonga) for a clan or family, was widely used for a long time in Zulu-traditional music.

Irene Mawela (who had been singing in the 1960s and 1970s with groups like Mahotella Queens, Sweet Sixteens and the Dark City Sisters) significantly impacted traditional and contemporary Venda music, despite vocal recordings in Zulu, Sotho and Xhosa languages.

In 2006 his comeback album Mulovha namusi na matshelo, included hit songs "Ndo takala hani" and "Zwa mutani wavho" which remain popular with Venda and Pedi's.

Other performers include: Makhadzi, Fizzy, Prifix, Bhamba, Komrade Li, SubZro, TAKZIT, Humbulani Ramagwedzha, Jahman Chiganja, Khakhathi and Friends, Maduvha Madima, Takalani Mudau, Rapson Mbilummbi Rambuwani, TMan Gavini, Clean-G, Mizo Phyll, Killah Gee, Jininka, Paul Mulaudzi, Malondo Ramulongo, Burning Doctor, Just ice, Lufuno Dagada and Tshidino Ndou.

The most prolific composers of "tiekie draai" Afrikaans music were lyricist Anton De Waal who wrote many hit songs with songwriters, pianist Charles Segal ("Hey Babariebab Se Ding Is Vim", "Kalkoenjie", "Sy Kom Van Kommetjie" and many others) and accordionist, Nico Carstens.

In 1979 the South African Music scene changed from the Tranetrekkers to more lively sounds and the introduction of new names in the market with the likes of Anton Goosen, David Kramer (singer), Koos du Plessis, Fanie de Jager, Flaming Victory and Laurika Rauch.

The early 1960s also saw performers such as bassist Joseph Makwela and guitarist Marks Mankwane add electric instruments and marabi and kwela influences to the mbaqanga style, leading to a funkier and more African sound.

Aaron Jack Lerole of Black Mambazo added groaning male vocals to the female harmonies, later being replaced by Simon 'Mahlathini' Nkabinde, who has become perhaps the most influential and well-known South African "groaner" of the twentieth century.

Wilson Pickett and Percy Sledge were among singers who were especially popular and inspired South African performers to enter the field with an organ, a bass-and-drum rhythm section and an electric guitar.

South African alternative rock grew more mainstream with two leading bands, Asylum Kids from Johannesburg and Peach from Durban having chart success and releasing critically acclaimed albums.

One artist of specific note to come from this era was James Phillips who was involved with several influential and important bands including Corporal Punishment; Cherry Faced Lurchers; and his Afrikaans alter ego Bernoldus Niemand (roughly translates as Bernard Nobody).

[23] The Graceland album not only propelled Mambazo into the spotlight, but paved the way for other South African acts (including Mahlathini and the Queens, Amaswazi Emvelo, Moses Mchunu, Ray Phiri and Stimela, The Mighty Soul beat and others) to become known worldwide as well.

Afrikaans-language music saw a resurgence in the 1980s as the Voëlvry ("free as a bird" or "outlawed") movement reflected a new Afrikaans artistic counter-culture largely hostile to the values of the National Party and conservative Afrikanerdom.

In kwaito, synthesisers and other electronic instruments are common, and slow jams adopted from Chicago house musicians like The Fingers, Tony Humphries and Robert Owen are also standard.

Numerous new young Afrikaans singers (soloists and groups) released CDs and DVDs and attracted large audiences at "kunstefeeste" (art festivals) such as the "Klein Karoo Nasionale Kunstefees – KKNK" in Oudtshoorn, "Aardklop" in Potchefstroom and "Innibos" in Nelspruit.

Major festivals like Oppikoppi and Woodstock were started and grew steadily, firmly cementing the niche under predominantly white university students exploring a newfound intellectual independence after the fall of apartheid.

[citation needed] In a resurgence (an increase or revival after a period of little activity, popularity, or occurrence) that has been linked by some to freedom from Apartheid guilt, Afrikaans music saw a surge in new artists, album releases and sales after 2000.

[27] In 2007 an Afrikaans song about Boer War general Koos de la Rey by Bok van Blerk became a hit amid debates on whether it represented a call to arms for the reinstatement of Afrikaner rule or just expressed cultural nostalgia.

BLK JKS' experimental Afro-rock took inspiration from The Mars Volta to blend their Zulu heritage and township origins with modern sounds and equipment and an approach to music-making that seems entirely devoid of boundaries, while maintaining the sweet melodies and rhythmic qualities of South Africa's traditional music.

In 2000, events such as Homegrown[30] became a prominent fixture in Cape Town and a launching platform for international and local artists such as Counterstrike, SFR, Niskerone, Tasha Baxter, Anti Alias and Rudeone.

Unlike other styles of house music, Kwaito songs typically have a slower tempo and feature catchy melodic and percussive loop samples, along with deep bass lines and vocals.

Notably, kwaito-associated artists like Brenda Fassie and Sipho Mabuse gained international recognition, with hits on global charts such as KISS-FM and Capitol Radio, serving as the world's initial exposure to South African house music.

[62] Other notable amapiano artists include MFR Souls, Kabza de Small, DJ Maphorisa, Mpura, Kamo Mphela, Tyla, Major League DJz, Uncle Waffles, Kelvin Momo and DBN Gogo.

Notable South African hip hop musicians include Tuks Senganga, Cassper Nyovest, Nasty C, Kwesta, Khuli Chana, iFani, Mo'Molemi, Da L.E.S, Sjava, K.O, Frank Casino, Okmalumkoolkat, Fifi Cooper, Anatii, Emtee, Shane Eagle, YoungstaCPT, A-Reece, Costa Titch and Big Zulu.

In its early stages, Motswako featured rap lyrics predominantly in Setswana, alongside American vernacular, with other South African languages like Zulu, Xhosa, and Afrikaans also being incorporated.

Key figures of motswako include Stoane Seate, Hip Hop Pantsula (HHP), Cassper Nyovest, Tuks Senganga, Mo'Molemi, Khuli Chana and Spoek Mathambo.

In terms of lyrics, it often features storytelling as well as relatable themes (black stories of love, survival, success and family politics, among others), and melodies that draw inspiration from South African genres such as Afropop, maskandi, kwaito and mbhaqanga.