The other day, I had a quick call with a prominent feature BubblegumClub, South African singer, songwriter, and dancer best known as Moonchild Sanelly. Born Sanelisiwe Twisha, you’ll easily recognise her for her bold, blue hair and “Future Ghetto Funk” sound. Having already released albums like Rabulapha! and Phases, she first came to prominence in Durban’s music scene, and quickly gained global recognition, performing at famous international festivals like South by Southwest (SXSW) and collaborating with artists like Beyoncé. Here’s what I asked:
Thembeka Heidi Sincuba: I see you’re gearing up for performances in London and around the world. How does it feel to be performing in South Africa for the Road to Amapiano festival?
Moonchild Sanelly: Actually, this is our first one in South Africa this year. […] I honestly didn’t believe it at first. I was like, ‘Wait, what?’ […] I saw the lineup and I’m just like, oh, shit. Like the solids I grew up to, which is ridiculous. […] definitely want to capitalize on Nelson Mandela’s freedom fight. I’m definitely with his name globally. […] I don’t just speak about him in the country, sitting in the country, complaining about government, but I’m literally rocking the entire group, because if Miriam Makeba could do it with all the adversities, what the fuck is my excuse? Then also there’s this whole, um, venue—Constitution Hill is also very […] heavy, you know, […] a women’s prison and what it stands for. We’re out the prison performing in prison. That’s the chat. […] Because it represents such power. And especially with us also being liberated in the world with regards to even just like same sex marriages or marriages. My politics are pussy politics. I’m a freedom fighter at the end of the day.
THS: You often talk about freedom, which could be seen as a challenge to the stereotype of Africa as conservative or perhaps even the general idea of “freedom”. How did you reach a point where you could actually liberate yourself?
MS: How did I own my body is your actual question, right? I owned my body because it had been violated before. Therefore instead of crying to the world, I created a world for myself to be free. And that was music.
THS: It’s a very difficult thing to do in the world and in these bodies, right?
MS: I don’t think it’s difficult because it wasn’t a difficult thought process for me. I just loved my body. I owned it. I knew I’d been taken advantage of in a tracksuit at my home in a situation that anyone would ever assume. And once I realized, okay, what the fuck, I’m going to create a world where I can be exactly myself without being raped or violated, and I did. This is music and stage, and I created my world. I can walk around anywhere I want, especially in the world. It’s even worse in the world. I don’t have to worry about the things I worry about in my world where I come from.
It’s not courage in the world. In the world, people are fine with being naked. People are fine with being themselves. And the funny thing is that we’re not, when we come from nakedness. So, there’s definitely a backwards element to where I come from as well. Because I wouldn’t be a shock factor if people were fine with just being themselves. It starts there. Because everyone is informed that they’re worried about society, and society is them. Yeah. You are society. Yeah. And so if you can speak like that on some, um, it’s difficult, you’re telling me what it feels for you already without me asking you, how do you feel about being naked? Do you know what I mean?
And that is not, it’s not a deep thing. How do you feel about wearing jeans all your life? How do you feel about wearing a suit all your life? How do you feel about being able to wear a thong? […] I’ve created the ability to, because the world was never going to control me. In fact, I was going to create my own narrative in the world, which I’m definitely doing. And we can see the world not being ready to just face who they are or just deal with life as it is. That’s why it’s a shock value, me being myself. Just do you get shocked when Beyoncé wears a leotard? […] No. Absolutely not. But you will ask an African because they are out of reach and they come from the same society as you. Why do your eyes change when it comes closer to home than it does when it’s away from home? That’s a personal question as well. You need to ask yourself because it’s in how you ask me the question that tells me about how you think. And a lot of […] interviews, there’ll be people who just […] heard that kind of notoriety. And I switch off immediately because you’re already coming with an expectation. It’s in the words you choose to use when you’re asking these questions. So it doesn’t take courage for me to be myself.
THS: How do your fashion and stage presence complement your music?
MS: I am my music. My fashion is my speech. My speech is my music. I just say what I say on a beat. There’s no difference. It’s not performative. There’s no one side, this side, one side, this side. If you interview me and everything is consistent because this is my life and what I stand for in general, you can ask the same question 50 different times. It’s who I am. And so if you hear it in a rap, it’s a rap. If you hear it in a speech, it’s a speech. If you hear it in fashion, it’s fashion. All of it is expressive. It just depends on what medium I choose to use, but it’s all who I am. That’s why I can’t be scared of the mission because it’s the world I’ve created for myself. And I will speak within that world, empower that world, call it a cult if need be, for the ones that are in a society where it’s few people that are even existing within just being themselves.
THS: I wondered, how do you want the audience, not just at this festival, but people who follow you in general, to see your contribution to this big legacy, not just of being a South African, but of the genre. I mean, I don’t even want to say Amapiano because I feel you sort of transcend—
MS: Um, I don’t transcend any genre that comes from South Africa. As a South African, I will always have a hit in every genre that comes from South Africa. I’ve got hits in Amapiano too […] I’m never better than anything that comes from South Africa because when it comes to relevance and all that jazz, part of the business is definitely studying and moving within. So what I always bring is my ‘Future Ghetto Funk’ in any genre […] but I will never, ever, ever be higher than […] whether you listen to grime, you’ll hear me with all the underground gang vibes. You’ll hear me there. I’m hard. And if you get me on pop, you’ll hear me on pop. I’m on every station. I play every single day on the biggest stations in the UK right now because of me just studying my power. And just the main thing is how do I tell my story? So I’m not limited to genre. I don’t undermine any genre. I will have hits in every genre that comes from South Africa.
THS: What advice would you give to young artists who aspire to make their mark in the music industry?
MS: I’d say, please do you. Be rejected for who you are. And own who you are. Because when you’re loved, you’re never going to question it. And it does take a little longer when it comes to originality. But if you’re going to make history, let it take its time because dreams have no expiry date. Keep going.
The Road to Amapiano Festival on 7 September at Constitution Hill, celebrating 30 years of South African music and democracy. Featuring heavyweights like Moonchild Sanelly, Nasty C, Oskido, and Boom Shaka, the festival will take you on a journey through Kwaito, Amapiano, and more. Whether you’re vibing in Joburg or tuning in online via VR, it’s all about the beats, local food, and a day-to-night party experience. Proudly backed by Nedbank, this event is a proper celebration of Mzansi’s music culture at one of our most iconic venues.
Get your tickets here!
Virtual and International Tickets Here!
