NATIVE Exclusive: Dope Saint Jude wants everyone to be “Alphas”
"I am just forging a cute, little gay path with my friends and having a good time."
Catherine (Dope) Saint Jude never thought that her music would find a home in her native South Africa. Her 2018 debut single “Grrrl Like,” has racked up over 3 million streams on Spotify alone, disrupting Africa’s ascendant music scene with honest and open confessionals about existing with all her complexities. “I know that the work is important because we don’t see a lot of representation of queer Africans,” she tells the NATIVE at the end of June.
It’s the beginning of the long summer holidays and pride month, Dope Saint Jude has just released her latest single “Alphas.” Coupled with deep basslines, twinkling keys and a no-holds barred delivery, the new track encapsulates everything the singer has to offer at a time of great innovation for the African music market: a multidimensional artist with a solid vision for her craft and an affinity for empowering women and gender non-conforming audiences.
“We’re also lucky in South Africa regarding our queer laws and it’s not something we should gloss over. I understand how great it is, that I can say something with this. I don’t take it lightly.”
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If any artist understands the sheer power of hardwork and dedication, it’s Dope Saint Jude. The June uNder alum first made her break as a drag king following a degree in Politics and Public Policy. During her time as a drag entertainer in Cape Town, Catherine fell in love with writing and producing her own original music after growing tired of lip syncs. Soon, she was making her own music which represented her experiences and held a mirror to her thoughts. “I just wanted people to feel empowered. I want people to feel like they’re the shit regardless of where they stand in the world,” she shares.
Tapping into all parts of her identity, Dope Saint Jude returns victorious and triumphant on her latest release “Alphas,” which finds her taking a deep dive into her queer roots. The central theme on the catchy new single is staying true to oneself and delivering a self-determined showcase. “Now I’m a feminist I see your inner beauty/But Ive also seen that ass and let me say that you a cutie,” she chants on the song’s first verse, inviting women, queer people and gender non-conforming individuals to release themselves and step into their alpha identity.
The video for “Alphas” is equally empowering and meaningful. Opening up with interview clips between Catherine and close friends and people in the LGBTQ+ community, the rapper questions what it means to be an alpha in today’s society. It’s clear that the singer takes pride in experimentation and she’s not afraid to present all her paradoxes on wax, allowing listeners to also interrogate their own biases and release their premonitions.
Following the release of “Alphas,” we caught up with Dope Saint Jude to discuss the track’s inspiration, her creative process and working with other queer artists to bring her vision to life.
Our conversation, which follows below, has been lightly edited for clarity.
NATIVE: Hi Catherine, thanks for joining us on the call today. Can you talk a bit about your moniker, Dope Saint Jude? Where did that come from & what it means to you?
Dope Saint Jude: My name is actually Catherine Saint Jude. Saint Jude is the patron saint of loss and hopelessness. My mum named me Saint Jude because she really wanted a daughter after having 4 boys. Then I came along. She was just really praying to have a girl and that’s where that part comes in. Honestly, the Dope part because I thought it sounded cool at the time. I was very young and it just worked. I added two together and there you go, that’s my name.
Looking at South Africa more closely, the country has one of the best music scenes in the world. It’s produced genres like Amapiano, Gqom, Bacardi house, to name a few sounds. What role do you see your music playing against the backdrop of SA’s global sound as a whole?
I’d say I’m doing something in terms of developing the smaller artists in South Africa. South Africa’s music industry is still young. It hasn’t been in existence for the amount of years like the UK or France has. It’s still pretty young and only recently, the industry opened up beyond Africa following the Apartheid. The landscape of music has changed and what tends to happen in South Africa is that a lot of focus is placed on one genre at a time. There was the Gqom wave and now the Amapiano wave. There isn’t a lot of infrastructure to support smaller artists that are outside what the current wave might be. I am part of the group of artists that are trying to create space for artists that don’t fit into what is currently mainstream.
You sing, produce, write your own music and also previously performed as a drag king, how did you decide what passion of yours to focus on?
It kind of happened naturally. I went to university and studied Politics and Public Policy and I wasn’t that into it. I was drawn more towards performing, and I had been exposed to the queer community in Cape Town. I started going to drag bars and performing as a drag king. I had fun with it but I started writing music as a result because I found it a bit boring only lip syncing songs by other people. From creating my own music, I realised that I really loved the process. From there, I taught myself music production and delved into what I’m doing at the moment.
Let’s talk about your recent release “Alphas,” could you talk us through what that song means to you and how it came about?
I was recording a bunch of singles when I was in London and “Alphas” was one of them. I was trying to make music that reflects my reality. Back then, I was spending a lot of time on TikTok and I saw a lot of alpha male rhetoric which I found funny and hilarious. I just thought it was bullshit. I’m a woman who is attracted to women and I actually like a baddie or a woman who is self-possessed and powerful because that’s what I value in myself too. I value owning my identity. So, I made a song saying ‘we can both be alphas’ in a way to subtly poke fun at the alpha male movement and comment at the time about nothing being wrong with a powerful woman.
The track is a powerful anthem exploring themes of sexuality, power, relationships, feminism, becoming & more. How do these themes allow you to express yourself as an individual and as a musician?
It just helps me to make sense of my world. I think the point of art and music is to reflect the world around us. I was taking in all of this information and remixing it in my artistic way. I was providing my spin on it. I was just trying to make sense of my reality and make sense of my world. It helps me know here I stand as a person within society, but at the same time have fun with it. I am kind of past that point in my life where I get angry and fight with faceless people on the internet. I wanted to make a song that’s playful and funny but still saying its piece.
How important is exploring your raw emotions when you are working on music?
It is pretty important for me to explore what I’m feeling, but also to reflect what’s happening around me. I do focus on what I’m thinking and feeling, but I also try to think of what else is happening outside my little bubble. “Alphas” is a mixture of what I’m feeling and what a lot of other people are thinking about.
The visuals for “Alphas” is equally powerful with images of queer Africans celebrated on the screen. How much creative input did you have in the entire process?
I pretty much had full creative control of that. The process of shooting it was so fun. I put out a call for queer people to appear in the music video and we ended up having the best time. We became best friends and we’ve been hanging out a lot since then. We meet up at some other events and meet more new people. We’ve been able to build and grow the community even further which I deem really important. Art that is fresh and reflective of a community is the priority.
What was the most memorable moment of collaborating with different queer cast members from different backgrounds?
They’re all just fantastic people and learning about them was interesting. I had been away in London for five years and being back, and collaborating with the new generation of queer artists in the art scene was amazing. It was cool to see what everyone was up to, so the highlight was just the good vibes. Amazing people to be around and work with.
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“Alphas” arrived during Pride month last June, serving as the honest queer African presentation we deserve. How do you feel about such expectations from your audience?
I was making the song and it kind of happened that the release was around pride month. I would’ve made and released it anyway, I was just lucky it was during pride month. I don’t feel pressure but I also know that the work is important because we don’t see a lot of representation of queer Africans. We’re also lucky in South Africa regarding our queer laws and it’s not something we should gloss over. I think it’s good that we recognise these. Of course, people are dealing with homophobia in some parts of South Africa but there’s definitely a lot of privilege to the work we put out. We don’t take it lightly and I understand how great it is that I can say something with this. I don’t take it lightly.
How has your journey been for you, especially as a young queer woman in a notoriously male-dominated space?
I grew up with 4 brothers, so I think I’ve always had that fighter spirit. I’ve dealt with a lot of discrimination but I don’t focus on it because when you do, it can get you down. I have the tendency to look at the positives and go in the direction of people that want to be around and elevate me. People say that the Hip-Hop industry is male dominated but I’m not concerned. I am just forging a cute, little gay path with my friends and having a good time. People are either down with it or they’re but that’s not my problem. You may not be down with what I’m doing but I’m here to build community.
“I am just forging a cute, little gay path with my friends and having a good time.”
With your new release “Alphas” would you say there was any message or feeling or thought you wanted audiences to take away?
I just wanted people to feel empowered. I want people to feel like they’re the shit regardless of where they stand in the world. I know I often need to hear that. I need to listen to music that empowers me. I get those days where I listen to music to pump me up because I don’t feel like dealing with my emotions. I want to make people feel loved and deserving of all the good this world has to offer.
Music has such a steep history but most times the Black pioneers are written out of the story. As an artist, how do you honour your SA heritage but still make room for your own originality and expression?
I try to be as authentic as possible but often, in a lot of my music I have many South African sounds. I use a lot of chanting sounds that reference South African culture. At the same time, we are living in a globalised society. I’m also making Hip-Hop music so I can’t deny the fact that I’m affected by everything I’ve consumed over the years which is like American/British music. I also try to keep my authentic self when I’m making music videos. Even the words, I often use South African colloquialisms. I try to mix it all together but I won’t say that my music is purely South African because what even is that? We are all so influenced by each other from all over the place.
Are there any topics you want to explore in your music in future?
Nothing that I can think of but when it comes up, I won’t be afraid to talk about it. I feel very comfortable talking about whatever’s on my mind. When something comes up, you’d hear it in the music.
Listen to “Alphas” here.
Featured Image Credits/Dope Saint Jude & The NATIVE
ICYMI: UNDER BEST NEW ARTISTS (JUNE 2023)
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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