NATIVE Exclusive: Nobuhle’s Music is a Conduit for the Physical & the Spiritual
“I am bringing House to home. I am bringing House to healing.”
A trip through Nobuhle’s music uncovers a deep sense of place and reverence for heritage and spirituality. The singer, songwriter and performer has spent years chiselling her ideas and views as a South African woman through the hearts of her audiences. There’s the bible scripture-inspired invocations on “Eloyi” with Black Motion, the musings of perseverance on “Wela” or the recalling of memories about home on “Emakhaya.” Across her two albums—2021’s ‘IMVULA’ and 2022’s ‘Indlela’—and a slew of singles and guest appearances, Nobuhle ensures that she’s a conduit for her listeners’ spirit, soul and body.
“I think the most important thing my grandmother said when I was six years old is you can never go anywhere and not remember home. Home is where the heart is, even when you are tired of being everywhere. Home will always remain,” Nobuhle tells the NATIVE. “[My music] is me paying homage to roots, to the blood, to the songs, to the dance that was given to me at a very young age. And now, I’m able to use that and share it with the world. Not only am I known for just my voice but people can realize that something is coming from somewhere and that is important because there’s a root in what I write; it has to accommodate listeners but also I want people to feel like this is taking them somewhere. That is always the aim with me.”
Born in Nkandla in KwaZulu-Natal, Nobuhle was raised by her late grandmother who was a spiritual healer. Her childhood is filled with memories of trips to the river to fetch water, sharing songs about the rain with her siblings and the dances showcased during cultural ceremonies. In fifth grade, Nobuhle’s teachers noticed her talent for singing and put her in a choir of older people. Later, she became the lead singer for her school’s choir and when she moved with her family to Durban for high school, she was a part of a poetry group that ran awareness campaigns in communities about drug abuse and teenage pregnancy. For Nobuhle, her path as a creative was possible due to the mentoring of her grandmother.
“There were certain ceremonies that were done at home almost every week, which included dance and basically celebrating our culture and tradition,” she says. “It was a way to remember our ancestral bloodline and also to enhance the spirit of healing within our community and our family. It would be the sounds of drums and the clapping hands and the music and the singing, and the drinking of African beer, Umqombothi, and it kind of instilled [in me] that music is how we remember who we are.”
Nobuhle’s debut on the South African music scene was on Sun-El Musician’s “Never Never,” which she reveals resulted from memories of her grandmother. “I would ask her why she gets so emotional when she sings and she will say that whenever she sings, she remembers a place that is unknown to us, the living,” Nobuhle says. “[That] she travels to another world where she’s free, a place where all her dreams are coming true.” It was that influence from her grandmother that convinced Nobuhle that she wanted to pursue music professionally so she went to study music at the University of KwaZulu-Natal (UKZN) and then returned for a second degree in dramatic arts, with a specialisation in directing.
Nobuhle prides herself as a musical descendant of a generation of impactful South African women. She grew up listening to the music of Busi Mhlongo, a legendary performer who Nobuhle says carried an ancestral aura whenever she went on stage; there was Thandiswa Mazwai, whose flawless delivery awed a young Nobuhle; Simphiwe Dana was an intriguing figure who Nobuhle believes carried an “ancestral Xhosa spirit within her, her voice, her tone, everything.” There were also Brenda Fassie and Izingane Zoma who left indelible marks on Nobuhle’s artistry.
All the years Nobuhle spent at UKZN were fundamental to shaping her into the artist that she is today. Her time in school taught her to be confident in herself, to be comfortable with being vulnerable as an artist and to master the configurations of the music business. “I went out during those university years and did some shows around the city and met other artists and saw what they were doing and learnt different instruments,” she says. Her persistence paid off when she got invited to Johannesburg, where she snagged a deal with Redbox Entertainment, a sub-label of Sun-El Musician’s El World Music.
Nobuhle was in Johannesburg working with Nduduzo Makhathini on a project when she reached out to Sun-El Musician on Instagram, requesting that they work together. Sun-El Musician agreed and the next day, he and Nobuhle were in the studio together where they worked on “Never Never.” Nobuhle describes the experience as a spiritual one ordained by the gods. She and Sun-El Musician would work extensively on her debut album ‘IMVULA,’ which was inspired by Nobuhle’s grandmother. “He’s just an easy producer to work with,” Nobuhle says about Sun-El Musician. “He’s really able to teach you what to do if you don’t know what to do because I came in not knowing what to do. So he has patience and he has a very easy heart with new talent. He loves new talent, he works very well with new talent. And that is very interesting to anybody who’s looking to make it into this industry.”
For Nobuhle, music transcends the physical realm. It’s why she usually needs to hear the beat before penning words to it; the instruments and the sounds they create are what evoke the feelings that give birth to the words. On her second album ‘Indlela’, Nobuhle deepens her grasp of her spirit-led sonics with rumbling African drums and percussions with dashes of elements from pop to electro. It also signalled a rise in her profile as she worked with established names in the likes of Kabza De Small, De Mthuda, Josiah De Disciple and Mpumi Mzobe, among others. Both ‘Indlela’ and ‘IMVULA,’ which Nobuhle delivers in IsiZulu and smatterings of Xhosa and English, hold a special place in the singer’s heart.
“I think every time I look at them, they are reminders that everything has led to this point,” she says. “And that my prayers are valid and my dreams are valid and there is still a long journey to go. For a person who’s coming from a very far, rural area, there’s nobody who has done what I’ve been able to do, which is to really fly and be that person who is doing something nobody has ever done in your community. I think that it makes me feel very proud that I have been able to stand on my ground and trust that I’m on the right path.”
The South African music space is a huge industry dominating its airwaves as well as those of other countries around the world. From Kwaito to Gqom to the current sensation of Amapiano, South African artists have found expressions in these sounds as a means to document and share their personal and cultural viewpoints. Nobuhle is one of the artists utilising House music and its variants. With her branding, she portrays an unapologetically African image with fashion choices—clothing, hairstyle and jewellery. It’s a deliberate act from Nobuhle to distinguish herself in the crowd of superstars and ensure that identity and purpose are communicated from a glance before she even opens her mouth to speak or sing. She also derives an advantage from her inclination to seek what is underneath the surface of her listeners’ minds.
“I’m bringing House to Africa. I am bringing House to home. I am bringing House to healing. Those are my three points,” she reveals. “And mostly I would always say I’m bringing House to healing. I want people to dance but to [also] have that space of healing within the dance because we are always going through a lot. I take House to spirit and I take House to my roots.”
While Nobuhle understands the need to differentiate herself from the competition, she also acknowledges the talent currently working that inspires her to be a better version of herself. Ami Faku, Bongeziwe Mabandla and Makhadzi are some of the names she mentions. Outside South Africa, she has taken note of the impacts of Tiwa Savage, Aṣa, Yemi Alade, Ayra Starr, and Angélique Kidjo, who Nobuhle says reminds her of her grandmother because of her grace and the way that she moves on stage. “She moves like she has hundreds of ancestors carrying her and when she opens her voice, there’s just this easiness and this proudness of being African and it’s something that I always pray for, to be alive until when I’m at her age, to be able to stand until that time and be remembered.”
Nobuhle’s latest single “Imali” features Master KG and Casswell P. A similarly titled song dropped in 2020, which Nobuhle and her team had missed until the release of the current “Imali.” The earlier one was Nobuhle’s prayer to her ancestors, soliciting their assistance in providing money for a better, comfortable lifestyle. The latest one is broader, tackling social and political issues in South Africa while urging listeners anywhere in the world to go out and create the lives they dream about. Nobuhle revealed that she had reached out to Master KG on Instagram and that it was an example of her certainty in her craft to move with intention and determination. It’s this mode of operation that Nobuhle carries in the present and hopes to replicate in the future.
“‘Imali’ is my last release for the year. I’m going home to relax and spend time with my family,” she says. “Next year, I’m going to do a live album project, hopefully; if it doesn’t turn into a live album, it’s going to be a very different type of album, which I’m hoping to feature Samthing Soweto.” In all, Nobuhle’s music is an assemblage of home, family, memories and experiences. “I am just a woman now who is living to narrate stories of my childhood and where I come from and where I could be going with my craft.”
ICYMI: BEST NEW MUSIC: NOBUHLE OFFERS STIRRING PRAYERS ON “IMALI”
Featured image credits/NATIVE
Tems Partners With Hennessy For Leading Vibe Initiative
Launching in Lagos, Nigeria, this event pioneered by Tems marks the beginning of a continent-wide movement to...
In July, Tems announced the Leading Vibe Initiative (LVI) to support women in music and the creative space on their journey to make a mark in their fields and create space for other women in those industries. Born from Tems’ journey as a self-taught artist with a focus on driving change, the initiative offers training, mentorship, industry access, and community for women in music in Africa.
After a rigorous selection process for its inaugural cohort, Hennessy will join the two-time Grammy Award-winning star to celebrate the launch of the Leading Vibe (LVI) Initiative in Lagos, Nigeria. Held from August 8 to 9, 2025, the two-day event is the beginning of a bold new chapter in Hennessy’s long-standing commitment to music and culture in Africa.
“I’m excited to partner with Hennessy in bringing this initiative to life, supporting talented young women in music as they find their voices, embrace their power, and shape the future of the industry across Africa and beyond,” Tems said about the partnership.
The Leading Vibe Initiative aims to champion the next generation of female artists, producers, songwriters, and music professionals, increasing representation within all areas of music across the continent and beyond.
With Hennessy as lead partner, this ambitious program kicks off with an immersive event in Lagos featuring curated workshops, networking moments, and panel discussions led by top-tier talent from across the global and African music industries.
“Her vision, talent, and purpose align deeply with Hennessy’s legacy of championing those who push boundaries and redefine the world around them. We’re honored to support the Leading Vibe Initiative and to continue empowering African communities and cultures,” said Vincent Montalescot, Hennessy Global Chief Marketing Officer.
Hennessy’s partnership with Tems builds on the brand’s decades-long history of supporting music and artistic expression globally and on the continent. From Hip-Hop to Afrobeats, Hennessy continues to stand beside the artists and communities that shape culture.
In Africa, the Maison has deepened its commitment through meaningful initiatives like In the Paint and now, with the Leading Vibe Initiative, is taking a focused step toward amplifying women’s voices in music. With the Lagos launch as a powerful first step, the Leading Vibe Initiative will expand across Africa and globally, creating a cross-continental network of empowered women ready to shape the future of African music.
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True Clrs Want People To Dance
True Clrs, a travelling party series launched by Adeola Kofoworade and Menab Tesfu, aims to bring the dance...
One of the more pressing topics of discussion amongst party-goers today is the curious question of why people don’t dance at gatherings anymore. While partying, theoretically, includes other activities like talking to strangers, getting drinks, and conducting business, it is primarily geared towards dancing and living in the moment.
These days, however, there seems to be more emphasis on these other activities than actual partying. People are doom scrolling on the dancefloor or are more occupied with trying to take the perfect selfie. Enter: True Clrs, a travelling party series launched by Adeola Kofoworade and Menab Tesfu that aims to bring the dance back to the parties by centering on the richness of African sound and the communities that love it.
“We found that there were a lot of parties in Dallas that had cultures that didn’t encourage dancing or interaction between customers,” Kofoworade tells The NATIVE about the inspiration for True Clrs over a Google Meet conversation in July. “Seeing how parties were being thrown in L.A., New York and other places in Europe, we thought to bring that idea here to Texas.”
Since its inception in 2023, True Clrs has hosted over 15 editions of its travelling party series across cities in the United States. In addition to a dedicated real-life following that engages with their series, they have also cultivated a robust online presence thanks to their meticulous branding and active CRLS YouTube page that features various thrilling DJ sets.
Ahead of the latest Houston edition of True Clrs, which featured ODUMODUBLVCK and Sarz headlining the Global Sounds Stage and others like Native SOUND SYSTEM’s DJ Sholz, Lowkey Ade, and Khulumars on DJ duties, we caught up with Adeola Kofoworade to discuss how they’ve managed to position True Clrs as the go-to party series in Texas, what makes them unique, and what their long-term plans are.
What inspired True Clrs?
We originally started True Clrs about two years ago because we noticed that there was a space in Dallas that we could infiltrate. We found that there were a lot of parties in Dallas that had cultures that didn’t encourage dancing or interaction between customers. That’s something pretty notable down here in the South. In clubs, there are a lot of sections and no big dance floors, so people are stuck in their sections without really interacting with other people. Seeing how parties were being thrown in L.A., New York and other places in Europe, we thought to bring that idea here to Texas. At first, we started with Afrobeats and Amapiano-centred parties, but then we started branching out to other genres as well.
How have you been able to position True Clrs as one of the go-to diaspora-focused party series in the U.S, especially in Texas?
We try to be innovative. We always try to make every event better than the last one. So if you came to one of our events the previous month, we try to switch things up and make sure you have a better experience the next time you come. We do this by booking notable DJs from around the country and even around the world. We also started booking a lot more talents. Last year, we had Lancey Foux; we had Sholz, who brought ODUMODUBLVCK; and we also had Skyla Tyla. This year, we’re looking to do more of that so we can always give our audience a notable experience.
How do you balance catering to the African diaspora with appealing to a broader audience that might be unfamiliar with the music and experience?
There are a couple of ways we try to do this. First, since we have monthly events, we try to switch between different genres and vibes. So let’s say, one month we have an Afrobeats and Amapiano party, the next month we could switch to this concept that we call the R&B rave. In the R&B rave, we basically play all types of R&B music, whether it’s old, contemporary or alternative, and we curate a rave-like setting.
We also run this concept where we have like two or three stages playing different genres. We could have one stage playing Amapiano, the other R&B and the other more global sounds. I guess it just depends on the venue we use. But we’re able to offer different experiences even at the same party.
Are there any other unique elements that set the True Clrs experience apart from other nightlife events?
One of our main appeals is recording DJ content. I know DJ content has become saturated recently, but what separates us is that a lot of our content is very genuine. It’s not made up or staged. We get real-time reactions from people. A lot of the time, people don’t even know they’re being filmed. Our content makes us notable, and it’s helped push our brand forward.
Since you began True Clrs, how have you been able to cultivate a strong online presence as well as a thriving community in real life?
With our online presence, it’s really been our content that has helped put us out there. We’ve had a couple of reels or YouTube sets go viral, and that’s definitely helped our online presence. Also, just being the kind of people we are, we take our time when it comes to branding True Clrs. We get a lot of feedback from people regarding our content, and we take it into account moving forward. For our real-life community, my partner and I had already been heavily involved in the entertainment space and the African community here before we began True Clrs. So we got a lot of support when we first started, and we’ve just kept building from there.
What’s the long-term vision for True Clrs? Are there any plans to expand into other U.S. cities or even international markets?
Definitely. Last year, we had our first international event in Addis Ababa, Ethiopia. My partner was up there for a holiday, and we decided to throw an event there. In the future, we do plan to expand to other countries, whether in Africa or Europe. With our connections with talents like Lancey Foux, Skyla Tyla, we’re also looking to see if we can put together festivals. That’s what’s on the horizon for True Colors.
What would you say to someone who’s never been to a True Clrs party? What should they expect, and why should they come?
Our goal is community curation through music. So what I would tell someone who’s never been to a True Clrs party is they should come with an open mind. They should trust our DJs because they might hear songs they’ve never heard before and still be able to have a good time. Also, while we don’t force people to interact, we encourage people to interact and dance while listening to good DJs.
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Best New Music: Tiwa Savage and Skepta Are Stuck In A Loop On “On The Low”
After over a decade helming some of the most romantic cuts in Afropop, Tiwa Savage’s dalliance with R&B is...
There are only a few artists in Afropop with the range, longevity, and lustre that Tiwa Savage has. Since she emerged on the Nigerian music scene in 2011, Ms. Savage has set an inimitable standard in terms of platforming the point of view of women at the pinnacle of Afropop, working to show that women are multi-dimensional and layered, capable of going through the motions of joy, angst, distress, and optimism just as much as the next person. By unapologetically leaning into the very minutiae of what makes her tick as a woman, she’s become a fan favourite and an undisputed legend of the genre.
Impressively, she’s done this while making great strides sonically. From the throbbing afropop of ‘Once Upon A Time’ to the swaggering house-inflected triumph of ‘R.E.D,’ and the dense polyrhythmic structure of ‘Celia,’ Tiwa Savage has continued to tincture her R&B-adjacent sound with influences from home and abroad. It is an accurate reflection of Tiwa Savage as a person: grounded by her Lagos heritage but shaped by global influences. For the last six months, she has been talking up her forthcoming fourth album, describing it as a full-throttle return to the R&B sound that was her stock in trade before she returned to Nigeria in 2011 to establish herself as an Afropop powerhouse.
In April, she released the emotive “You4Me,” clearly establishing the direction for her new album, ‘This One Is Personal.’ Produced by Mystro Sugar, “You4Me” put a fresh spin on Tamia’s ’90s classic “So Into You” with percussion work by Magicsticks adding a decidedly Afropop sheen to the song. Upping the ante, Tiwa Savage returned with “On The Low,” a delightful sung-rap bop featuring British-Nigerian rapper, Skepta. Like “You4Me” before it, “On The Low” is steeped in R&B tradition, finding Tiwa Savage pining after a love that feels like a taboo or forbidden pleasure. Produced by Rymez and Mystro, it is a surefire pointer that Tiwa Savage wasn’t joking when she said ‘This One Is Personal’ had overt R&B influences.
After over a decade helming some of the most romantic cuts in Afropop, Tiwa Savage’s dalliance with R&B is helping to propel her artistry to new heights. Just as the soundtrack for ‘Water & Garri,’ her debut as a filmmaker, pared down universal emotions like longing, desire, and anxiety into digestible bits on standouts like “I Need You,” “Lost Time,” “Love O,” her latest song chronicles the intangibles of a romance that’s quite not out in the open. “I know you want to link on the low / We have to stay discreet, you don’t know,” she sweetly intones on the song’s hook, clearly obfuscating the true status of the relationship but revealing just enough to let her listeners know that the dynamic of this relationship is not the usual.
It’s a premise that is established from the opening lines of the song when Skepta breezily starts with an offer to travel, presumably after being unavailable for a while. “Yeah, I’m off tour, we should celebrate / Dedicate some time for you, baby, it’s a date,” he says. It sets off a sequence where Tiwa Savage admits to being annoyed by the complexities of this relationship.
Still, there’s something about the thrills of these tenuous romances that keeps one tethered to them, and Tiwa Savage manages to capture the dilemma of the situation when she sings, “Boy, you make me stressed, you don’t know / Then you send me sweet texts on the low.” Her measured delivery and tonal inflections lend an air of believability to the story that would be inaccessible in lesser hands.
It helps that even as she revisits her R&B origins, the singer still maintains a strong connection to the sonic references that made her an Afropop juggernaut. There is seriously impressive percussion across “On The Low” with enough Yoruba ad-libs sprinkled across to remind any doubters that this is a Nigerian star paying homage to an elemental part of her evolution without losing touch with her roots. It sets the stage for This One Is Personal’ perfectly.
Listen to “On The Low” here.
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