Review: Uncle Waffles’ ‘Solace’
stretching the boundaries of private school & Barcadi-House 'Piano
Amapiano is a feeling. As the South African-honed sound continues to traverse the continent’s borders in increasingly unfathomable ways, language has not proven to be a barrier to its global success. Through the success of the genre’s frontrunners including Major League DJz and Vigro Deep who continue to sell out venues across the globe, to the widespread love its receives on social media through instant virality, it’s clear that Amapiano is here to stay. Perhaps the most fascinating export to arrive from the genre’s global success, is Eswatini DJ Uncle Waffles who is similarly garnering a lion share of audience attention through thrilling DJ sets on the hottest stages including Afronation and Coachella.
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It’s impossible not to have come across or heard of Uncle Waffles. Through her infectious dance moves, the DJ and artist is inviting more audiences to experience and listen to Amapiano, the global sound of South Africa’s townships. This is the latest South African music genre to see its artists on the global stage, with Spotify streams outside of Sub-Saharan Africa growing more than 563% in the past two years. Building on her approachable personality and proximity to fans, Uncle Waffles creates a connection whereby she engages with her audience on TikTok and regularly previews new tracks and scouts new artists, bringing listeners into her world.
It’s through the world of social media that Waffles first got her foot in the door through the viral success achieved in 2021 while playing Young Stunna’s “Adiwele,” to a dance floor of enthralled audiences. It’s also through social media that the DJ landed the attention of her team, South African-led Kreative Kornerr run by Zeus and Kai who further her global ambition through well-thought out campaigns and social outreaches with her growing legion of fans. Social media also serves as Waffles experimentation ground for testing out new material and connecting with new artists who she then invites to collaborate and contribute to her growing sonic tapestry. Following the release of her debut EP ‘Red Dragon’ and chart-topping single “Tanzania” in 2022, the Estwatini DJ and artist returned this year for her second project ‘ASYLUM’ which laid the foundation and served as the first instalment for a full-formed LP now titled ‘Solace.’
Ever the keen observer and shaper of the current tides of culture, Waffles returns strong and confident on ‘Solace’ which reinforces her ability to operate as a industry tsunami with minimal effort and maximum skill despite being only two years away from her breakout moment. On the new album, she continues to draw converging lines between the music and her audience, cementing her impact as one of the female leaders in South Africa’s male-dominated dance scene.
Given that advancing the culture remains central to Waffles’ global vision, her ability to effortlessly translate meaning and feeling on the screen, champions her more viral moments. Think “Yahyuppiyah,” her lead promotional single for sophomore release, ‘ASYLUM.’ The track’s urgent delivery and heavy shakers delivered an infectious buzz that has soundtracked many TikTok videos since its release. The stacked song credits, featuring Pcee, EeQue, Tony Duardo, Justin99 and Chley not only reiterated her dedication to the genre’s ethos of community by providing other artists and producers with a platform, but also shed a light on her first-rate ear for music and the culture around it. The song’s accompanying dance and infectious production spread like wildfire on social media, playing into Waffles’ strength and understanding for surveying the culture while informing it in real-time.
This innate understanding has set the tone for the rest of her journey as she ascends the ranks. The appeal of Amapiano is rooted in dance and rhythm, which is gleaned through the emerging culture around it. More than just the music or the lyrics that audiences are hearing, the ability to connect with listeners through a video and social-first approach has allowed audiences from around the world to tap into the genre’s fabric by peeling back the curtain on its language-barrier. The speed with which Uncle Waffles has made her name, as one of the most important voices of the younger generation of hitmakers is nearly unprecedented, and this is mostly entirely due to the proximity listeners have to her truest and most vulnerable feelings on social media.
When her sophomore release ‘ASYLUM’ arrived, it was clear that Waffles felt the need to provide a refreshing contribution to the dance subgenre. This created a sharp contrast with a visibly dark, almost daunting, effect in her tone and delivery. Armed with moody, pensive beats buoyed by catchy features, Uncle Waffles peeled back new layers of her artistry on ‘ASYLUM’ with infectious rhythms and melancholic melodies that command you to bump your head and sway your hips. However, the heart-thumping drum patterns paired with light shakers are only one part of the inventive equation when you consider the continued presence of Private School Amapiano and the Deep-House-led excursions. So, while the party anthems remain a crowd favourite with good reason, the melancholic interpretations also served to further encapsulate the genre’s many facets. In Waffles’ world, light and dark are able to exist in tandem, rubbing off on each other but never truly commingling.
As Uncle Waffles hurdles closer to the crown jewels of Amapiano with a mastery of these varying frames of reference, she elucidates that in her world, light and dark can co-exist. Her recent addition to her catalogue, ‘SOLACE,’ — ‘(An Asylum of) Solace’ acts as a follow-up characterised by dazzling synths and wide percussive bass lines providing a soulful touch and broadening our sonic palettes one chord at a time. On the album opener and promotional single “Echoes,” featuring Tony Duardo, Manana and Lusanda, Waffles provides the perfect backdrop for her visitors to chant with lyrics such as “Echoes, but you’re not trying to let this go” which set the effervescent tone of the project. Both Manana and Lusanda are important mainstay acts in South Africa’s burgeoning R&B/Soul scene and their appearance on this track further enunciates Waffles more emotive, vulnerable moments .
The project’s title goes a long way in establishing the mood for the rest of the listening time. Comfort, cheer or support perfectly describe the tone of Manana-assisted “Echoes.” Waffles leads in with the genre’s mainstay embellishments, drawing curious ears in with a familiar bass-heavy pattern lined with subtle shakers. As they drift in and out of the song’s production, their voices and lyrics hold a sense of equivocation in expressing their emotions, as though uncertain to speak their mind. The next track “Peace and Happiness,” continues this penchant for brooding beats and delectable shakers.
“Peace and Happiness” is a fusion of heartfelt memories and a good time. Here, Kamto and Khesto snag production credits on the second track embellished with bubbling piano chords, gently tickled by raspy vocals. Wordless chants and harmonies evoke the feeling of euphoria supported by the occasional drum infusion. “You give me peace and happiness, oh yes/In my soul, in you I echo,” the mid-cadence vocals croon, continuing the project’s aforementioned themes of love. This, however, takes a brighter and significantly less daunting approach—a smooth attempt to lift the mood in the groovy soundscape. So far, our introduction to Waffles’ solemn side presents a nuanced view of soul music and acid jazz, secured by a string of House embellished keys.
On ‘Solace,’ Uncle Waffles is leaning towards Private School Amapiano–a school of thought which believes that Amapiano should be more soulful and heavily vocalised. It strays away from the heart-thumping drum patterns paired with light shakers and general production-led facet to the genre. On the contrary, this embraces melancholic interpretations to evoking the same transcendental emotions. Seeing as the genre is dance-focused and was majorly exported through upbeat bangers with intoxicating soundscapes as seen on Focalistic’s “Ke Star” or Mellow and Sleazy’s “Bopha,” Private School Amapiano is yet to witness a similar upwards trajectory. Other than tracks like Kabza De Small’s “Abelele,” the Bacardi-House party anthems remain a crowd favourite.
There’s no party without Uncle Waffles and she reminds listeners of this on the project’s next track “Peacock Revisit” which interpolates a vocal interpretation of bubblegum group Splash’s 1986 hit, “Peacock.” On here, Waffles shows her true skill, coalescing basslines and Barcardi House flows into her orbit. The song’s progressive nature builds a steady momentum with a creeping bass, backed by a penny whistle that drives its rhythmic qualities up several notches. “Peacock Revisit” is a call to action from Waffles to the audience, complete with drum kicks and playful snares that beckon them immediately to the dance floor.
As the project builds, it’s clear that improving her skills and that of her collaborators is a great source of pride for Uncle Waffles. On “Waffles Anthem,” she taps a slew of artists to showcase their undeniable skills, providing the artists space to fire off their dazzling over-the-top spectacle. Murumba Pitch is a familiar name given the artist’s outstanding vocal contributions on the hit single, “Hamba Juba.” On “Waffles Anthem,” there is an almost hypnotic feel to the track, helmed by the seductive saxophone, clashing cymbals and Pitch’s sonorous vocals. In true anthem fashion, he smoothly slids over the mid-tempo production with charming boasts using Waffles’ name. Shakes and Les, frequent collaborators with the ‘Piano princess, couldn’t be a more perfect pairing with Pitch for the celebration of her charismatic personality.
MaWhoo’s rich vocals fight for space amidst the pleasant cacophony of instruments on “Khumbula.” The jazzy undertones smoothly glaze the blend of sounds, allowing Msolo’s honeyed croons to form an enticing ballad of melodies that further amplify the track’s celebratory nature. The project’s penultimate track, “Khula,” presents a smoother blend of percussive elements that aptly represent the chirpier atmosphere of the extended play. The repetitive lyrics also give enough room for a lush soundscape created by the kalimba and piano progressions to flourish. ‘SOLACE’ wraps up in a bittersweet moment with its titular track in a captivating mix of guitar and piano chords. Reminiscent of smooth jazz records, “Solace” portrays a relaxed atmosphere with minimal lyrical backing to celebrate Ice Beats Slide’s proficiency in instruments.
As the Amapiano genre continues to redefine the status quo, Uncle Waffles is navigating the industry not just as a newcomer but as one of the youngest women competing for a share of attention against powerhouses such as DJ Maphorisa, Kabza De Small, Major League DJz and more. More importantly, Uncle Waffles is changing the rules of the game and playing on her own terms, as she widens the potency of her arsenal with animated DJ sets and experimental music that brings other emerging artists to the fore. Waffles has proven that DJs no longer have to be one-dimensional, embracing her vulnerability and assertive storytelling to empower other African women just like her.
There’s no denying that Uncle Waffles is someone we will continue to keep close tabs on. Her desire to redefine the status quo, push the envelope on the spaces reserved for women, as she navigates the industry with the vim of a newcomer and the confidence of a veteran, is admirable. Uncle Waffles is a sonic, human manifestation of the popular saying, “Amapiano is the lifestyle” and continues to reaffirm herself as a powerhouse capable of global domination. ‘SOLACE’ adds another string to her bow, as she pretty much continues to go warp-speed on her abilities, making music that is thematically bound to introspection and constantly evaluating personal truths.
Listen to Uncle Waffles’ ‘SOLACE’ here.
ICYMI: ESSENTIALS: UNCLE WAFFLES WLECOMES A NEW CHAPTER WITH ‘ASYLUM’
Luwa.Mp4 Releases Riotous Debut Album, ‘punKstA*’
Across the album’s 12 tracks, Luwa.Mp4 continues his fiery exploration and fusion of genres like Punk Rock,...
Rising singer and rapper Luwa.Mp4 has released his debut album titled ‘punKstA*.’ The underground star who has been on a release spree all year long, announced the imminent arrival of his debut only a couple of days ago with a cryptic trailer video and an Instagram caption that simply read ‘PUNKSTA* MONDAY.’
Before the arrival of ‘punKstA*,’ the rising fusion star had been showcasing his diligence and talent with a consistent output that has seen him put out over a dozen songs since the start of the year. A string of singles led to a 6-pack titled ‘lore skooL,’ while a deluxe version that housed 5 new songs came just a month later.
His debut album’s lead single, “pUNK FANTASY,” arrived in late July, setting the stage for what could prove to be a pivotal moment in the underground star’s burgeoning career.
Across the album’s 12 tracks, the eclectic singer continues his fiery exploration and fusion of genres like Punk Rock, Afropop, Hyperpop, and Rap into something uniquely different. Tracks like “Pure Water,” which was previously teased on Cruel Santino’s Subaru Live Stream, the abrasive, Tecno-influenced “pROMISED NEVERLAND,” and the more laidback “pEEp MY RIDE” put on display the sort of varied, autotune-soaked approach that has set him apart and helped carve a growing niche.
While Luwa decided to go solo on his debut, credited as the only recording artist, the album was brought to life by a cast of talented producers like frequent collaborator TOPSY, Emyboi, JTRN, 3CB, FVKK.ANDI and Jeremy Cartier.
Listen to ‘punKstA*,’ here.
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Shekhinah Returns With Surprise Album, ‘Less Trouble’
The South African R&B star is at her most assertive on her first album in four years.
South African R&B and Pop singer Shekhinah has released a new surprise album titled ‘Less Trouble.’ The Durban star, who had been quiet for most of the year, took to social media shortly before midnight to share the new album’s cover, synopsis, and tracklist, simply stating, ‘If you’re seeing this my album LESS TROUBLE is out now at Midnight,’ in an Instagram caption.
The soulful singer first began teasing ‘Less Trouble,’ her first album in over four years, about a year ago when she released its lead single “Risk,” a bouncy Afropop-inspired collab with Ghanaian star MOLIY. A few months after the release of “Risk,” she put out “Steady,” a dreamy pop number that suggested that something bigger was on the horizon. But then it was largely radio silence about a project until its surprise arrival at midnight.
If 2021’s ‘Trouble In Paradise’ represented a coming-of-age for Shekhinah, subsisting some of the dreamy, youthful exuberance of her debut album for more measured musings on themes like heartbreak and grief, ‘Less Trouble’ finds her at her most assertive, writing and singing with the acuity of someone who is grown, decisive and discerning. The delicate opener “Break Up Season” sets the tone for the rest of the album as she shows little tolerance for shady behaviour and toxic patterns.
Other standout cuts on the album like “Bare Minimum,” a sombre collab with fellow South African award-winning singer lordkez, the ethereal, in-your-face interlude “New Casanova,” and the percussive “What Are We,” where Shekhinah contemplates the nature of a relationship but ultimately demands all or nothing, all drive home a part of the album’s synopsis, which reads ‘A BOOK ON MORE HEARTBREAK BUT LESS HEARTACHE.’
Shekhinah invites a couple of new collaborators on ‘Less Trouble,’ featuring the aforementioned MOLIY and lordkez as well as multi-instrumentalist Mars Baby and Young Stunna across the album’s 11 tracks. Mpilo Shabangu handled the majority of the album’s production, while other producers like Michael Morare, her longtime collaborator, Mthintheki Mzizi, and Vuyo also contributed to the album.
Listen to ‘Less Trouble’ here.
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The NATIVE’s First Impressions Of Amaarae’s ‘Black Star’
‘Black Star’ marks another evolutionary arc for Amaarae, and The NATIVE team offer our thoughts after a...
Change has always been a constant theme in any discussion about the career of Ghanaian-American star, Amaarae. Since she emerged as a singular voice in the late 2010s, she has evolved from a sirenic Afropop-adjacent singer into a Punk-Pop firestarter with minimal fuss. ‘Fountain Baby,’ her 2023 sophomore album, was a sweeping departure from the lilting melodies and shapeshifing cadences of the hypnotic ‘The Angel You Don’t Know,’ emphasizing her commitment to charting new courses with her music.
In the lead-up to her new album, ‘Black Star,’ she has wholly embraced a Pop aesthetic and sheen that was reflected on the album’s promotional singles, “S.M.O.” and “Girlie-Pop!.” Now that the album has arrived, the singer has advised listeners not to go in expecting a continuation of the soundscape on ‘Fountain Baby.’ As keen followers of Amaarae’s career from its start, we are sure that ‘Black Star’ marks another evolutionary arc for her, and we offer our thoughts after a few listens.
WHAT WERE YOUR EXPECTATIONS OF AMAARAE GOING INTO THIS ALBUM?
Kemnachi: I had zero doubts that she would impress me again. Amaarae always comes correct. She is audacious with her choices, taking creative risks most artists would not dare to imagine, and somehow rendering them seamless, deliberate, and effortless. Her music has a way of enveloping me: it’s fluid, slightly dangerous, and yet irresistibly sensual. Every project feels like an immersive world she has curated down to the finest detail. With ‘Black Star,’ I knew it was not going to be a mere collection of songs but another meticulously constructed realm.
Bamise: I expected something fun, genre-bending, and sonically diverse in the fashion that Amaarae’s music typically is. I may have taken the album title a bit too literally, though, because listening made me realise I had an eye out for some Pan-African statements or something to spark discourse on African identity, but I didn’t quite catch any of that.
Boluwatife: Amaarae has largely delivered throughout her career, so I knew she was going to come correct again. She’s one of those forward-thinking artists who take the kind of risks most others wouldn’t, but she always manages to make it work. She’s proven to be a musical omnivore who constantly meshes her wide-ranging influences into something new, fluid, icy, and more often than not, sensual. I knew ‘Black Star’ wasn’t going to be any different.
WHAT SONGS STOOD OUT ON THE FIRST LISTEN?
Wale: I liked “Girlie-Pop!.” I feel like it captures Amaarae’s vision of pushing Afropop into the future. She’s also really grown comfortable with music and lyricism and will not dumb down her message for anybody. The instrumental for “Girlie-Pop!” is also a wonder; it’s so dense, but there are pockets for Amaarae to be emotive about her feelings. Top song!
Daniel Akins: I need to hear “B2B” at the next rave I’m at. Amaarae is in her Dance era, and I’m here for it. Kiss Me Thru The Phone pt 2” with PinkPantheress is the collaboration I knew I needed, and I’m glad they finally linked up. It’s a clear standout on the project; their ethereal style complements each other.
Shina: “B2B” was the one that did it for me. That is my favourite track on the project. The number of times I ran it back was unhealthy for a first listen. It was also really fun to catch the Don Toliver “Best You Had” sample. I need to hear this outside!
HOW WELL YOU THINK THE GUEST APPEARANCES ENHANCED THE LISTENING EXPERIENCE?
Israel: The guest features on Black Star aren’t mere flexes. They’re strategic, theatrical, and sometimes emotionally resonant. They enhance, yes, but they do so on Amaarae’s terms. A standout for me was PinkPantheress on “Kiss Me Thru The Phone pt 2.” The tradeoff is that a few songs feel like dazzling cameos rather than an integrated conversation, yet overall they enhance the album’s drama, texture, and bravado with precision.
Daniel Banjoko: Everyone showed up and delivered, no weak links here. Instead of just guest spots, they felt like vital pieces of a bigger puzzle. Charlie Wilson on “Dream Scenario” nailed his part especially, making the track sound exactly like its name promises.
Moore: The guest appearances on ‘Black Star’ feel very intentional; each one enhances the album’s world without overshadowing Amaarae’s vision. PinkPantheress’s signature airy delivery meshes with Amaarae’s experimental pop sound. Naomi Campbell’s commanding voice on “ms60” is an unexpected but powerful addition, adding drama to the track. Each feature feels carefully chosen.
WHAT SONG IS THE BIGGEST SKIP?
Bamise: Not to be a party pooper, but I don’t get the PinkPantheress collab, “Kiss Me Thru The Phone pt 2.” It feels like a PinkPantheress song with less pop in it, and just borrows the title of the iconic Soulja Boy song but has no other similarities. It’s between that and “ms60.” For me, the chorus of that sounds like something I’ve heard from Amaarae before, and I doubt its absence would have diminished the album.
Shina: I feel like biggest skip is a strong word for a solid project, but if I have to pick a song to skip, it’ll be “ms60.” I think it’s easily forgettable.
Wale: It’s hard to single out a song that stuck out to me, but hearing Naomi Campbell on “ms60” threw me off. It’s just too contrived to bear for me.
WHAT SONG HAS THE BIGGEST HIT POTENTIAL?
Boluwatife: My gut answer would probably be “She Is My Drug,” just because of how she beautifully reworks the melodies from Cher’s “Believe.” DJ remixes of this song could go crazy. But if I were to think a bit more logically, TikTok would probably lap up “Kiss Me Thru The Phone pt 2.”
Daniel Banjoko: “Kiss Me Thru the Phone pt 2” goes crazy. Amaarae and PinkPantheress are the perfect match. This collab feels like it was destined to happen, and it delivers in full. Honestly, I can’t believe it took this long, and now I just need more tracks from these two, ASAP.
Moore: “Kiss Me Thru The Phone pt 2” has the biggest hit potential on the album. The song has a nostalgic, sad party girl vibe that makes it appealing, and it’s also catchy and well-produced. PinkPantheress consistently performs well on platforms like TikTok, and her fanbase overlaps in a really interesting way with Amaarae’s. The collaboration feels organic and exciting, and will likely create a lot of buzz.
OVERALL FIRST IMPRESSIONS
Wale: There is a very visceral quality to how Amaarae expresses desire that I don’t hear very often in a lot of music. It’s abstracted and warped in futuristic textures, but it’s very profoundly human, and it’s always great to hear that even as she advances the sonics of her delivery. I do, however, have an issue with the thematic scope of ‘Black Star.’ I thought there would be overt references to her experiences of navigating her Ghanaian identity, but those references are limited to samples and interpolations. It’s still an incisive listen and a triumph for finding ways to advance music from Africa.
Bamise: It’s Amaarae; she can never go wrong. But for me, this is the album that excites me the least from her catalogue. Other than how bass-heavy some songs on the album are, like “S.M.O.” and “She Is My Drug” among others, it feels similar to other projects I’ve heard from her in a way that’s not exactly refreshing or mind-bending. I may have gotten spoiled by how diverse and eclectic Amaarae’s music tends to be, but I wanted more from her. I expected more gangster, Hip-Hop Amaarae. Thematically, I didn’t get anything that gives the Black Star of Ghana, or black stars are ruling the world. Will I listen again and enjoy every bit of it still, though? Yes, I will.
Shina: So first off, this is a solid body of work. I love the fact that Amaarae stuck with the Dance, Electro-Pop route she was going with throughout the album. The features also played their part, adding their unique touches to each record. I would say, though, a feature I would’ve loved to hear on this project is 070Shake. I think she would have been perfect on “100DRUM,” but we don’t always get what we want, do we? Thematically, I think Amaarae could’ve leaned heavily on her Ghanaian heritage, seeing as the title and cover of the album are a nod to that. Maybe Amaarae just wants us to dance, and that’s what I’m just gonna do, and you should too.
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