When “The Lion of Soweto,” Simon Nkabinde Mahlathini passed away in 1999, South Africa mourned the loss of the one of the most influential musicians in its rich and turbulent history.
Mahlathini had created the buoyant musical hybrid known as mbaqanga (to try and pronounce this word, you must issue a hollow click for the “q”) in the ’60s, and along with his three singers, The Mahotella Queens, forged a sound that rang throughout the country’s impoverished townships.
While fellow musical giants Miriam Makeba and Hugh Masekela had escaped the apartheid regime and found a haven in the States, Mahlathini and the Mahotella Queens stayed home and honed their skills amidst the stifling turmoil. But with Mahlathini gone, the nation was wondering if the torch had extinguished.
Sebai Bai is the first release from the Queens since the passing of their leader and front man, and it demonstrates that these three were no mere back-up singers. This recording positively sparkles. The Queens, consisting of the powerful triumvirate of Hilda Tloubatla, Mildred Mangxola, and Nobosethu Mbadu, continue to delve into the abundant mines of mbaqanga rhythms and melodies.
Mbaqanga, which is Zulu for “dumpling,” relies on swirling guitars, independent melodic bass lines, driving accordion riffs, and complex polyrhythms to lay the foundation for the all-important voices. While West Africa has become renown for its drumming tradition, South Africa owns a vibrant and distinct choral tradition. So much so, in fact, that vocal harmony seems to be as natural to South Africans as breathing itself.
When studying at the University of Capetown, I would often get puzzled looks in crowded mini-taxis for singing along to the melody of a song on the radio. Everyone on the bus would be singing their own distinct part. Why sing someone else’s part? It is from this deep well of choral tradition that the Queens derive their beauty.
While the percussion and rhythm of the album is indeed stunning, its focus lies in the silken harmonies of these gifted women. Through 13 exquisite tracks, their voices offer intricate and pristine layers of traditional Zulu and Sotho melodies. In a land where voice reigns supreme, the Mahotella Queens are giants.
Sebai Bai showcases some a cappella mbube songs (the style popularized by Ladysmith Black Mambazo), a couple of modern-sounding tunes with English lyrics, and even a reggae-influenced tune, but the spirit of the album lies in the bass and guitar harmonies and spirited vocals of the mbaqanga tradition.
Sebai Bai is a celebration of perserverence and strength that shows the Mahotella Queens still on top of their game, able to rise up (Woza!) without its famed leader.
