AMAPIANO — South Africa’s next great export?
Semi Tee, Miano and Kammu Dee on the video for Labantwana Ama Uber. Source: YouTube.
Nothing prepared me for what was to await upon my arrival in South Africa. Nothing.
Exposure to Amapiano through the Ubunifu Space was insufficient. Pouncing Cats, Vosho’s and ‘Yebos!’ awaited, and I wasn’t ready.
Amapiano (nicknamed ‘The Yanos’) is a genre of music that gained popularity within townships in Gauteng during the Mid-2010s. It is electronic in nature with aspects of House and Kwaito (also native and unique to South Africa). The talented duo MFR Souls are credited with both creating and christening the sound. It features strong basslines, piano/keyboard usage (hence Amapiano) particularly in the higher notes, varying beat combinations presumably birthed from sample machines/synthesizers creating a genre that can be likened to mathematical equation equaling one thing; dancing. It is the energy of Amapiano that perplexed, it is contagious and smiling is inevitable. Vibes are inevitable. The Yanos expertly portrays where South Africa is culturally at present, as art is supposed to reflect the times, Amapiano does that in ways colourful and vibrant. To not be whisked away by the spirit of the Yanos takes some doing. Sunday Roast, an event the Great Dane in Johannesburg was the pinnacle. However, Amapiano has the ethos of street partying, thus you find it playing in every corner. Landing in Johannesburg is to be placed into an alternate reality where sentience is heightened without inhibition. The Yanos is infectious, an unstoppable force thundering down a hillside as you lie in wait at the bottom of the valley — impossible to avoid.
Typically Amapiano tracks are on average between 6 and 7 minutes long, designed to get you off your feet and keep you there. Littered with troughs and grooves, and in particular, drops in stages following an exit from the drum solo. Amapiano tracks tend to begin with a drum solo lasting on average between 15–30 seconds. As these solos all sound similar, it can be difficult to decipher what song is actually playing until it drops. That is the element of surprise that is usually greeted with cheers by an audience, particularly if it is a tune that is a crowd favourite. Regardless, wherever you are in the song, you are off your feet and your vibing. Amapiano reiterates the notion that music universal, and though lyrics are in Zulu, I am still able to connect with the genre in ways beyond words. I now find myself singing and rapping in Zulu. Compartmentalise a figment of the South African experience, and no doubt you will need to find a huge space for Amapiano, such as the influence it currently has in the music/cultural scene of South Africa.
Still taken from Sukendleleni by Jobe London and Mphow 69. Source: YouTube
There are numerous songs that have caught my ear, notably Labantwana Ama Uber by Semi Tee, Miano and Kammu Dee for its exciting, raw and underground feel, catchy hook and signature dance moves that much like hip hop, trap etc. a song comes with a special move that encapsulates this seismic moment Amapiano finds itself in. Another is Vula Vula by DJ Maphorisa, Kabza De Small, Virgo Deep ft Nokwazi for its sheer production quality, astonishing. This particular track demonstrates the steady incline, the introduction of different instruments furthered by differing combinations, samples, and vocals as the track progresses epitomising what Ampiano brings to the table. Uniqueness personified, a sound that is fresh. To not be on your feet by the 30-second mark is unfathomable. Nana Thula and Fire are also top tracks dominated by vocals designed to move an audience to scream the hooks to spirits beyond. A production destined to be ranked high in the Amapiano hall of fame irrespective of the genre's future.
I have been to both my maternal and paternal ancestral village homes in Uganda and seen for myself an innate ability for kids to dance once the music is turned on. Dancing is ingrained in our culture, and children are born with the ability to dance in time with a beat. It is only right that such a unique genre of music in Amapiano is accompanied by dance styles, the Pouncing Cat being one of them. These are just as important as the Stanky Leg, Shmoney Dance, Dougie and the Migraine Skank in regard to dances being genre-defining and integral to the genre itself. The Pouncing Cat has a significant focus on shoulder and leg movement, almost as if you’re swaying that fits so perfectly with the piano/keyboard grooves, vocals and heavy basslines of Amapiano resulting in the dance being a perfect fit. I find this to be a befitting and distinctive aspect of South African culture, that you will not find elsewhere.
And that is not all. There is a form of whistling called Fliet where people imitate a flute which is said to originate from the townships. It is often distinguishable and adds to the cadence of Amapiano fueling the carnival atmosphere that develops in the streets and fields whenever Amapiano is blasted. Fliet is yet another integral ingredient adding to the spicy concoction that forms Amapiano culture, which is hand on heart, nothing like I have experienced before. The streets are also filled with MK1 Golf’s and classic BMW Alpina’s, most of which are banging Amapiano, with a party atmosphere inside, whether cruising through the streets or parked up with the boots open revealing a speaker system fit for a DJ. I grew to learn how important those cars in becoming a vessel of South African culture.
Video still taken from Fire by DJ Big Sky and LuuDeDeejay. Source: YouTube
Amapiano is another example of what Africa as a continent has to offer.
Afrobeats has long been the dominant sound to be exported to other continents, thus resulting in the misconception that Afrobeats is representative of African music as a whole. Africa is a continent full of countries, and then tribes of people with different experiences and ways of life. Luckily for us, music is a significant vessel for culture and we see this through Amapiano in South Africa, Gengetone in Kenya, B-Dub in Botswana and so many more that is yet to even reach my mental shore. Africa is in a beautiful place, and as we progress into a new decade, more are going to be awakened to the potential of the continent without a doubt.
I want to see Amapiano reach British shores in popular fashion, as I thirst for those vibes again. The British club scene is dominated by UK Hip Hop, Rap, Afrobeats and Bashment. Amapiano originates from House, which does not have a significant influence in the British Urban Scene. There is a huge and well established House and Tecno scene in the UK for sure since the 1980s, but it is a scene separate from that mentioned above. However, playing Amapiano to friends of African origin born and raised in London often say the genre tentatively reminds them of Funky House, a sub-genre of House music that was popular in London during the late 2000s and early-2010s. Amapiano DJs are being booked internationally, playing in Belgium, Spain and the UK where there is a huge house scene. A one hour set of Amapiano recently featured on Reprezent Radio, one of the UK's largest youth-led radio stations that represents the urban scene, courtesy of Shay Sade. Could Amapiano revive British Urban interest in music of the House variety? There is potential for sure, given its Kwaito influence which is a lot closer to Hip Hop.
There is without doubt greater potential for unique genres originating in Africa to be exported to the African diaspora given the rise of social media, thus increasing awareness and vessels of travel. There is an increasingly influential market for artists in Africa during December, given that it is their summer and winter Europe and the USA. Summer 2019 in Africa had Afrochella and Afronation in Ghana and Afropunk in South Africa, all attracting artists to perform from abroad. Furthermore, Cardi B toured Ghana and Nigeria in December for the first time, reiterating its newfound viability, but more so a gradual change in attitude towards the continent by those residing in the so-called ‘Western World’. And to top it off, artist Bas belonging to the label Dreamville owned by J Cole tweeting his praises of Amapiano which not only spreads awareness but also highlights its growing influence.
Afronation, Ghana 2019. Photo: @Maimagazine. Courtesy of Afro Nation via OkayAfrica. Source: https://www.okayafrica.com/afro-nation-festival-photos-looked-like/?rebelltitem=2#rebelltitem2
Finding words to articulate the feeling Amapiano ensues has proven difficult. Both listening and immersing yourself in the genre, by visiting South Africa, only can allow full comprehension. Amapiano has cemented its foundations in South Africa, and is ready to envelop the continent. Though there is often talk of genres being ‘in trend’ South Africa and therefore lacking lifespan like Gqom that preceded it. Time will tell as to whether Amapiano too suffers the same fate, however, I am inclined to believe there is longevity in this movement. I yearn to hear ‘‘bring the Yanos!’’ at a function again. Amapiano is not just a genre, it is a lifestyle.