There’s a peculiar relationship I find between music and time. A song can be imbued with extensive urgency that you can feel every second of its instrumentation, lyrical narrative and melodic tonality, and conversely, other moments where the congregation of a song’s elements are so intune that one forgets the existence of time, completely absorbed in the surrender of emotional transcendence. For multi-award-winning producer, DJ and obdurate curator Kabza De Small, the uncanny ability to make his rhythmic audience feel both the quirky urgency of fiery dance music and the soulful formlessness of timeless music has become second nature. His new offering, Bab’Motha, eloquently presents itself in the continued duality of sonic craftsmanship, all in service of anchoring the bridge between Amapiano and Afro House: 3-Step, seeping subtly in songs like “Ngyozama” and “Isthombe”.
Kabza De Small | Credit: Instagram
A common thread that drives the backbone of Bab’Motha and an evergreen niche culture within the lexicon of Amapiano is when the songwriting works in tandem with the production for the preservation of traditional heritage and its sustained progression in modern-day society, where customs are often under threat of erasure to westernisation. The first act of the album, which heralds records like “Kabza Chant 2.0,” “Ngyozama,” “Abalozi”, and “Siyabonga” at its wake, transcends into the realm of ancestry where guidance, gratitude, protection and sacrifice in pursuit of a better life are entrenched in the core messaging of the listening experience.
This isn’t new to the stories embedded into the pulsating genre and some may argue that it tends to get overused as lyrical concepts, the continued presence of this narrative is, however, a dual reflection of how much African creative has achieved in amassing wealth to pull their families out of the clutches of poverty and the constant elemental battle the comes with keeping their families and themselves in the good graces of the universe. Kabza allows his collaborators to share their newfound responsibilities and roles in their families, which fuels the hope they instil in themselves and their audience who share similar life paths and missions.
Stream “Ngyozama” here:
Ushering in the album’s second act is the remix to his KOA Part I single, “Eningi”, neatly tying the overarching theme of obtaining prosperity, which embodies the hustler’s spirit of Kabza De Small and his collaborators. “Lawuleka” and “Incwadi Yenduduzo” are simmering into the album’s heart, emotively unpacking romantic and familial trauma. The former paints a bleak reality of the perils of falling in love, indicative of the unhealed wounds from past experience and a chilling commentary on the quality of historical and modern-day relationships.
Conversely, “Incwadi Yenduduzo” explores the social ill of abuse where the protagonist writes from the perspective of a devastated sibling who has had enough and wants to leave the home in search of peace and safety. It’s important to note that here there’s an element in the lyrics that unpacks the dichotomy of abuse, where the victim finds reason to stay in an abusive situation despite its unbearablility often due to a dependency on the abuser. In a country rampant with Gender violence, “Incwadi Yenduduzo” calls for a pause and contemplation of the depth of pain countless families have to endure and encourages victims to fight for a way out of their unbearable situations, a pivotal moment of social commentary that is rare but not unique to the Amapiano genre. While the production of these songs sways into the realm of lounge and relaxed undertones, which subtly compromise the importance of their message, there is enough cinematic presence to heighten the sensitivity of the subject matter.
Bringing the album’s second act to a close is a serene trance of “Isthombe” and “Interlude.” The former delving into the mirage of impostor syndrome that dream chasers experience as they near the manifestation of their goals. From the sequencing perspective, it’s rather fitting that the agony carried by “Incwadi Yenduduzo” spills seamlessly into “Isthombe” almost as if both songs are conversing with each other. The listener is hoisted into this contemplative state that we do not need to belong to our suffering, nor allow it to hold us back from achieving our dreams. While we ruminate on the thorns that plague our journey to prosperity, we are treated to a soothing interlude with a meditative saxophone, drums and light conversation paving the way for the album’s final act.
Stream “Incwadi Yenduduzo” here:
Unfurling the album’s final act, we return to the spiritual roots that underlie the album’s cohesive theme. “Iphupho” and “Ukuthula” enter our conscious as reminders that our generation of movers and shakers are our ancestors wildest dreams, our successes are the manifestations of our Grandmothers prayers and though there may be monitoring spirits and those that wish us ill and cast our legacies with slanderous opinions and devilish deeds, the stillness, perseverance and focus on our goals will be met with divine counsel and refuge. The effortlessness with which the songs of Bab’Motha flow into each other, forming a story of overcoming, is commendable. Conceptual consistency in the age of shortform scatteredness fosters a conversation for the renaissance of carefully considered structure in album culture.
Affection finds its way to the penultimate chapter of Bab’Motha, where “Izimbali” and “Uma Kujabule Wena”give way for the lovers to party. The former advocates for the art of gesture in courtship. While most maintain that it takes money to woo a woman, this record makes a case for how the money is spent, how the thought fueling the pursuit is what makes all the difference and this comes alive through the vibrant sonics complimenting the amorous musings while the latter priortises a love interests wellbeing and contentment as the foundation of their happy home. From a curator’s standpoint, I find that Kabza made a prudent choice by contrasting the gloom of “Lawuleka” with the passionate flair of “Izimbali” and “Uma Kujabule.” It fosters the conversation of preserving hope for love despite the cautiousness one should consider when dealing with matters of the heart.
Stream “Uma Kujabule Wena” here:
The curtain call of Bab’Motha comes in the form of “Amandla” and “Amakhosi,” a thorough conclusion to the listening experience. Both records tie together a revered honour for traditional sanctity. Between drawing from prayer as a source to face life’s challenges head-on to the pure beauty of being anointed by your forefathers, the tale of Kabza De Small’s ascendence into a new chapter of his reign as King of Amapiano is kissed by the grace of poetry.
From the “Khuphuka Small!” chant egging on the next frontier of his career, to embracing 3-Step within the evolution of Amapiano’s global texture, not forgetting the significant concept album cover shoot by renowned South African photographer Jr Ecko, a bold vision has come to life. One that cuts through the noise of mainstream metrics to serve the greater good of speaking to the soul. Kabza De Small may have compromised on the commercial culture of smash hits which feed the street legacy resting on the opposite spectrum of Amapiano’s spiritual undertone, however, the journey nestled into Bab’Motha resets the matrix of global music, one where tradition, endurance, overcoming, maturing and grounding oneself in this faced paced world becomes paramount. In the words of the original chant, “Sebekhala ngo Kabza De Small”, indeed.
Stream: “Amakhosi” here:
