Over the past couple of years, amapiano has taken over as the country’s choice groove life staple. Providing an ever-flowing soundtrack to those who predicate their lives on keeping their bodies moving to the beat, the genre has seen the birth of a legion of producers from the fringes who have injected new life into the music scene
One of the lesser-known names making waves has been Tshepo Mokoena, also known as Slickwidit. While Q-Mark, TpZee, and Afriikan Papi may be at the forefront of the hit “Paris”, Slickwidit was just as hard at work at the back, perfecting the concoction which kept millions drunk with the infectious melodies of the single.
We linked up with Mokoena to find out more about him and his journey as a beat maker.
Where did you learn how to make beats and how did you learn? Was there a particular person who mentored you or was it something else entirely different?
Slickwidit: I learnt from a producer named SPeeKas when I was invited by a friend to his studio session in 2009. I was only 18-years-old at the time. After that session, I was fascinated with music production and began independently learning how to make beats, by going to my uncle’s house to use his computer. I installed the FL Studio v.5 (demo version) and began teaching myself how to use the software around 2012-2013.
What are your three favourite instruments when you make music and why those three?
Slickwidit: My favourite instruments are an acoustic guitar, the Rhodes piano, and a bass guitar. I love them because of the type of music I make – music that is soulful and melodic. So those instruments make it easy for me to compose soulful sonics.
You co-produced the hit song “Paris”. Although it’s an amapiano song, there are RnB and soul influences to the song. How did the recording process come about and are those elements a personal touch you add to every song you work on?
Slickwidit: The weirdest thing is I was listening to a lot of old-school house music at the time, and I instantly got the inspiration to make that beat. Q-Mark invited Afriikan [Papi] to the studio, and the first beat I played for him was that of ‘Paris‘. Afriikan Papi did not waste time and recorded the song. It was during lockdown, so there was a lot of inspiration. We figured that since love is a universal language, we’d sing about it because the chords layered on the song had an RnB feel.
Watch “Paris” here:
When it comes to shaping your sound, which producers and instrumentalists have been the biggest influences to your craft?
Slickwidit: When it comes to producers, the list is quite long. But to keep it short, I will say: Darkchild, Spikiri, Guffy, Polow da Don, Bonobo, Robert Glasper, Kaytranada.
Music is always evolving and new genres/sub-genres keep popping up. How do you grow yourself as a producer, and what do you think is the most important thing a producer can do to always stay on top of the game?
Slickwidit: To be honest, as a music producer, you must naturally have an ear for music. Meaning you must learn to appreciate new and relevant sounds and learn to implement or fuse those elements into your music. You must also be open to working with different producers and so forth.
The most important thing a producer must always do to stay on the top is to always collaborate with other musicians so that you can maintain the standard of selling hit songs to the world.
Of all the songs you’ve produced, which one has been the one that you cherish the most, and explain why you love the composition of it so much?
Slickwidit: It has to be a song titled “Esselen Street” by Blaklez & PdotO, featuring N’veigh. I cherish and love the production of that song because it’s a fusion of kwaito, hip-hop and amapiano. I feel like it brings different audiences together.
Besides the genres you already produce for, what’s the one other genre that you’d like to experiment on in the future, and why?
Slickwidit: I would like to experiment with fusing neo-soul and acid jazz because I feel like those have a huge influence on deep house and amapiano music, which is what I’m currently producing.
