Zakes Bantwini is a South African musician whose career has been marked by a constant evolution of his sound up to his current status as a pioneer of African futurism in electronic music.
We explore the evolution of Zakes Bantwini’s sound and how it embodies the concept of African futurism.
Zakes Bantwini’s Career
Zakes Bantwini was born Zakhele Madida in Durban, South Africa, in 1981, growing up in the Township of KwaMashu.
Prior to releasing his debut album, Zakes Bantwini received a National Certificate in Light Music from the Durban University of Technology where he formed his own record label called Mayonie Productions before the release of his debut album “Love, Light, and Music,” which was an intoxicating fusion of contemporary African House Rhythms peppered by an eclectic blend of Latin, Traditional African and EMD influences.
The rhythm and sonic range of ‘Love, Light and Music” was impressive, and while the album was well-received by audiences and critics, Zakes Bantwini kept exploring new sounds.
The result was Zakes Bantwini’s sophomore effort, “The Fake Book & Real Book: My Music Bible,” another dizzying cocktail of House, Soul, and Jazz influences.
This fusion of genres and sounds created a unique sonic landscape that was both familiar and new. The album also featured collaborations with other South African musicians, including long-time collaborator, Black Coffee.
On his third album, “Love, Light, and Music 2,” Zakes Bantwini continued his exploration, producing a fusion of electronic and acoustic instrumentation which included collaborations with Jazz legend Hugh Masekela.
This album was also a critical and commercial success and cemented Zakes Bantwini’s status as a pioneer of African Futurism in music.
But it was Zakes Bantwini’s fourth album, “Ghetto King,” that truly exemplified his evolution as an electronic musician and his commitment to African futurism.
Ghetto King is also a fusion masterpiece featuring House, Jazz, and Kwaito influences. The album also featured collaborations with international musicians, and showcased Zakes Bantwini’s ability to blend different musical styles and cultures.
The sound of “Ghetto King” was characterized by its use of electronic instruments and production techniques to create a sound that was both modern and African, featuring intricate drum programming, pulsating basslines, and soaring synths, all of which were anchored by Zakes Bantwini’s soulful vocals.
“Ghetto King’s” lyrics spoke to the struggles and triumphs of the African experience, from the challenges of poverty and inequality to the resilience and perseverance of the African spirit.
The album’s smash single, “Osama” was a phenomenal success, garnering international attention for Zakes Bantwini.
The success of “Ghetto King” showcased the possibilities of using electronic music to tell African stories and challenged the notion that African music could only be traditional or “world” music.
Zakes Bantwini’s electronic sound was a prime example of African futurism in music, and it paved the way for other African musicians to explore similar sounds and styles.
Zakes Bantwini’s evolution as an electronic musician and his commitment to African futurism have been shaped by his experiences as a South African artist. South Africa has a rich musical history, with influences ranging from traditional Zulu music to American jazz and soul. The country’s apartheid history also created a unique musical landscape, where artists were often forced to use music as a form of resistance and expression.
In this context, Zakes Bantwini’s use of electronic music to tell African stories takes on a deeper significance. It represents a continuation of the tradition of using music as a means of resistance and expression, while also embracing new technologies and sounds.
It also challenges the notion that African music must be static or traditional and asserts the agency and creativity of African musicians.
In continuance of his formal training as a musician, Zakes Bantwini also obtained a Diploma in Jazz and Music Performance from the University of KwaZulu-Natal in Durban in 2013 which has enhanced his technical and artistic possibilities.
Conclusion
African futurism is a cultural movement that combines elements of traditional African culture with futuristic technology and aesthetics. It is a response to the often-negative portrayal of Africa in Western media and an assertion of African agency and creativity.
African futurism can be seen in various forms of art, including literature, film, and music.
In music, African futurism is characterized by the use of electronic instruments and production techniques to create a sound that is both contemporary and distinctly African.
Zakes Bantwini’s evolution as an electronic musician, his success and commitment to African futurism have been marked by a constant exploration of new sounds and styles.
From his first album to his current status as a pioneer of African futurism in electronic music, Zakes Bantwini has never been afraid to push the boundaries of his music.
His electronic sound, as showcased on “Osama,” is a prime example of African futurism in music, and it has helped pave the way for other African musicians to explore similar sounds and styles.
Zakes Bantwini’s Grammy win and his impact on the global music stage also demonstrate the power of African futurism in music and its ability to challenge stereotypes and redefine the boundaries of what African music can be.
This has also been demonstrated by the global success of Amapiano and Afrobeats which incorporate international sounds like Hip Hop and Dancehall with contemporary African Rhythms.
