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.
On 9 August, The Dinner Club returns for its second edition, this time inside the M&M Music Academy in Sunningdale. Unlike its debut in 2024, this one isn’t just centred around the food. Built around a full live jazz programme, the event puts music front and centre — framed not as background entertainment but as a key part of the evening’s design.
The thing about slow-burn R&B is this: it can drift into background music fast. Pretty melodies, a moody beat, and suddenly you’re three tracks deep without remembering a thing. But “Kutheni” — a considered collaboration between Kila G and Stanley Branson — avoids that fate. It doesn’t shout for your attention. It just quietly takes hold.
