These days, too many events feel designed for people who drift in, snap a few photos, and leave before the night really begins. The music becomes background, the crowd thins by midnight, and the promise of connection gets lost somewhere between the bar and the DJ booth.
In recent years, many musicians and fans have questioned whether jazz still carries the same political charge it once did. For Cape Town’s seven-piece collective Kujenga, those tensions pulse beneath every note of their new EP, Common Ground, a record that insists jazz — or what they call “Black Improvised Music” — still carries a responsibility to the times we live in.
A few years ago, landing a track on RapCaviar was akin to winning the lottery. Today, the same placement feels closer to a consolation prize. Streams are down, algorithms are up, and the machinery of music discovery is quietly being re-engineered while artists attempt to keep pace.
For a few hours on the evening of the first Thursday of September, Cape Town’s music scene witnessed a shift. When Aloe Aloe and Quiet Life Co staged Maglera Doe Boy alongside Kujenga, it wasn’t merely a show; it was history being written in real time.
By the time the last question was asked last Saturday afternoon, you could feel it: nobody wanted to leave. In a city where meaningful conversations about music often happen in snatched greenroom chats or late-night WhatsApp groups, VERVE’s latest workshop at Obz Books gave Cape Town’s creative community a rare chance to sit down together — artists, managers, journalists, and curious fans alike — and be heard.
It’s tempting to start this piece with “despite the odds” or “against the grain.” But let’s not. Because here’s the truth: femme-presenting artists in Cape Town and beyond aren’t breaking into the music scene — they’re helping build it. And if you’re not paying attention, you’re not just missing the moment. You’re missing the movement.
It was a simple question, but the answer sparked a storm. When DJ Speedsta asked Cape Town-born rapper K.Keed to freestyle live on his 5FM show, she refused with a calm but firm, “Let’s not do that.” Instead of letting the moment pass, Speedsta pressed her again — igniting a debate that has since spilled far beyond the studio walls.
The first thing I saw was a pink drink and a pile of scavenger hunt cards. Not the usual start to a Cape Town music launch, but Pretty Loud has no interest in doing things the usual way. On 7 August, co-founders Erin Elliot and Amy Tjasink — two women with the resumes and stage presence to back it up — introduced their new women-centred music collective with The Pyjama Party. Invite-only, unapologetically femme, and designed to feel like the sleepover of your dreams, it doubled as a statement of intent: the future of music in this city is collaborative, not competitive.
On a warm Cape Town afternoon, Lynn Cupido is somewhere between tending to her indoor plants and building worlds out of sound. The two might seem worlds apart, but for the 28-year-old singer-songwriter, model, and dancer, both are acts of care — both demand patience, intention, and an openness to growth.
When Nasty C announced the relaunch of Tall Racks as a digital platform for independent artists about a week ago, it landed with real momentum. The platform’s Instagram account has already amassed over 100,000 followers, proving significant interest — not just in the brand, but in the solution it’s promising.
