Born in Soweto in 1988, Buhlebendalo Mda is known for her vocal prowess and stage presence. She has performed at major festivals like Womad, Queertopia, AfroVibes, and the Cape Town International Jazz Festival, amassing a fiercely loyal following. Her debut solo album, Chosi (2020), explores spiritual themes, and her latest album, Hele (2024), was crafted during her four-year initiation as a sangoma. Ahead of her performance at Sikelela: The Road to the Barbican on November 9, Buhlebendalo agreed to speak with us about her remarkable practice.
Thembeka Heidi Sincuba: What are your earliest memories of realising you wanted to be a musician, and what influenced you in that direction?
Buhlebendalo Mda: Music bumped into me. I was a very active child in high school. I remember I think I was in like three different choirs within the premises yakoskolong. Being one of the popular children, I just feel like I bumped into music—I found a group of guys on a cipher, and I joined in, and we clicked. And the rest is history. But I always wanted to be on TV. Just like any other teenager. But you’re not really sure what you wanna do. I just grew into the idea of doing music. It collided with me.
THS: There’s something so spiritual about your music and your stage presence. What influences are guiding you on that path that you’re on?
BM: Coming into myself and understanding that there is a bigger call that I continuously need to answer to. There’s a bigger assignment I need to fulfil and it’s through my music. And I think what inspired that was understanding that I was different. Going into a journey to fetch my higher self. Around 2016, I think that’s when things kind of changed within my messaging and within my walk when I create. And then understanding why I’m here. I want to use the very same music that’s collided with me for spreading my healing space. So I think me wanting to know about myself and my highest self is what inspires what everyone else sees.
THS: What’s the significance, in your process, of being born in Soweto and practising in Johannesburg? Is that something that you take with you as you expand?
BM: When you’re born in a township like Soweto, you’re somewhat tasked. Um, You know what I mean? And I think Soweto has that resemblance of wanting to get out of Soweto but still remain as a Sowetan person. This is what birthed me, you know, this is what I come from and this is my legacy. This is what built who I am today. I think everyone that comes from Soweto or any other township that feels and looks like, or resembles Soweto—it’s important for us to pay tribute to what made us.
THS: I’m sure you’re pretty sick of this question, but I can’t help it. What was it like to decide to leave The Soil? And what has that process been like?
BM: I’ve never had this question, especially the way you constructed it. So, well done. [laughter] Leaving The Soil was not a decision that came from my physical self. I left The Soil a long time ago, but physically I left The Soil last year. My task with The Soil was done. And I needed to breathe somewhere else. Int’ engiy’bonay’ ukuthi that’s what resembles who I am. Yeah. I breathe into a space. And I see that space. I see the fruits of that space and then when I see them growing and I see ukuth’ “Okay, I’m done here.” Then I leave. I’m not meant to stay in spaces that long. Like a person who is called, I understand why I should do that. The problem is when people who are receiving the music and who have so many attachments to the brand; that don’t understand why it’s being done. My work with This Soil was done and I had to move.
THS: So the last time I saw you perform it was a Constitution Hill and I think it was Queertopia. One of the things that struck me was this balance between very traditional values, but also being a bad bitch. I was curious about how you exist in both worlds.
BM: There’s something so reviving about going to ephehlweni. Iphehlo is one of the things that humble you to your lowest core. And when you come out of that space, you fear nothing. You are in your fullness. So I can be that bad bitch and still be umamohambayo. That’s what iphehlo did for me. Iphehlo made me comfortable with being all those women. And still be accepted in different spaces. That is why I was able to twerk at Queertopia. And the following day, I’m home, ngiyaphahla. It’s because abangakithi have allowed all the women in me to be fully themselves. And I think this industry lacks people who are fully themselves. Painting a picture to the kids ukuthi you have to be these certain ways in order for you to enter certain spaces. You just need to be yourself. And whoever accepts you accept you. Not everyone can love you. So I always refer to iphehlo cos what else can kill me? Cos I died so many times ephehlweni.
Curated by Siyabonga Mthembu and set for the 9th of November at the Market Theatre, Sikelela: The Road to the Barbican precedes the highly anticipated Sikelela, Thirty Years On at the London Jazz Festival to be hosted by the Barbican on November 24. With a matinee featuring Litsomo, Bokani Dyer with Andile Yenana, and The Brother Moves On with Tumi Mogorosi and Malcolm Jiyane at 3:00 PM; and The Brother Moves On with guest musicians, Maleh and Buhlebendalo at 7:00 PM, the show proves the potency of liberation through music.
