Pongo - a continued awakening

source: VOANEWS

Since our inception in January 2017, we have been reviewing music from the African continent and diaspora with the mission to explore, document and showcase just how unique the continent is. Pongo is an Angolan native, and is yet another shining example of distinctive quality whilst holding the fort the Kuduro sound, a genre native to Angola. Pongo predominantly sings in Portuguese or her native tongue Kimbundu with the aims of celebrating Africa’s diversity in all shapes and forms.

Kuduro is an electronic-led dance genre from Angola, that fuses elements of Zouk, House and Techno music. It is typically uptempo and highly energetic.. you know, the type that would feature in a festival. And Pongo, is, well, eccentric in her approach to her art with a type of charisma that is infectious. She is no stranger to elements of lyricism designed to move, invigorate and inspire. Pongo is relatively new on the scene however she is fast-becoming the picture post-card for modern music of Angola. Previously, references to Kuduro would perhaps be Don Omar and Lucenzo’s Danza Kuduro, no doubt influenced by Kuduro itself, but what of Angolan artists producing Kuduro themselves?

Pongo released Sakidila, her second studio album in April 2022, mostly Kuduro in sound but too elements of other sounds demonstrating her willingness to experiment. Above all, Pongo’s eccentricity radiates throughout the tape, and this is something we will soon become accustomed to. Sakidila opens with “Hey Linda” which mostly introduces you to the essence of the project; Kuduro though there too are elements of electronic dance, and perhaps even dashes of Afrofuturism to its sound alluding to the overall direction of the project. Its up-tempo BPM captures the essence of Kuduro, with Pongo stirring the pot in Portuguese poetic verse. Doudou is merely the trough between the Kuduro waves, airing on the side of something rather solemn but soulful. Pongo is seemingly lamented friction between herself and a love interest in angst, with a repetitive yet calming hook whilst harmonising in both English and Portuguese. Doudou is a standout, such as its softness and eclectic guitar strings, as Pongo ostensibly depicts the wilderness that can be intimate love. Kuzola is just Pongo in her creative abyss right? One that is owed to leaning into self, a darkness that excavates vulnerability of self. Perhaps the music video depicts how such can be a gruelling process, given her emotional state, and the transition of the music into black and white. It is a physical, emotional and mental ordeal to produce Kuzola, as is any form of exploration of self that is brave, and true. A child’s greatest fear is usually ‘the dark’, typically because there isn’t much there for them to work with; they fear what could be in the dark which likely is linked to abandonment. For an adult, typically our greatest fear is ourselves, and our true nature away from our interests and personalities; our being that is in effect formed through conformity. Kuzola obliterates such, and is Pongo unearthing a being deeper, and this representative in her emotional exhaustion throughout concluding with a vocal climax, which is essence all there is left for her to give. Much like Kendrick Lamar’s FEEL or Greentea Peng’s Make Noise, Kuzola drives forward a cleansing method of expression, almost near-exorcising and purging the body intensely, with intention, relentlessly until.. nothing.

source: nvsc.fandom

So Amor and Amaduro are distinctively South African influenced, and this is no surprise given the rise of Amapiano as a global phenomenon. So Amor is a Kuduro/Amapiano hybrid, whilst Amaduro is more closely linked to Gqom given its fierce bassline line, BPM and the fiery passion in Pongo’s delivery, despite her references to Amapiano in the track. Nevertheless, these are examples of the cultural exchange we rave about at the Ubunifu Space. Whether it be Kuduro, Amapiano or Gqom, she has the cadence and diction perfect for electronic-laden tracks. Such is evident in Bruxos, the 8th track in Sakidila, of which she made a COLORS SHOW appearance to, attracting 1.2 million views, yet another spirited and high-octane performance. Interestingly, if you listen carefully, riffs closely related to Drill can be heard if you are not too distracted by Pongo’s lively dancing. King Doudou a.k.a Hugo Douster produced the beat for Bruxos, likely an amalgamation of several music interests. It is animated, and conjures memories of festivals in a forest.

Sakidila is not feature heavy, in fact on two tracks on the 12 song album have features. The first being Bica Bidon featuring Titica who is known as a Kuduro legend. Bica Bidon moves as if it is for the streets.. you know, a street anthem. I can envisage it playing on the streets from a bar or from the speakers of a pimped out car providing a glimpse into Angola’s nightlife, but too one that could very easily impact European nightlife. Latino elements to Bica Bidon are noticeable, and that carries with it a carnival essence. Goolo is written and produced by Nigerian producer Saszy Afroshii, who has previously worked with the likes of Tiwa Savage and Wizkid, has also been seen recently working with Nigerian artist Fave, on is on our One’s To Watch in 2022 list. With Goolo, there is no surprise that Sakidila ends on an Kuduro infused vivacious spirit because that is who Pongo is, and this is what Kuduro represents.

Pongo sits in the realm of the artist who is totally unique in their approach to art. The very fabric of her being is expression deep-rooted in Kuduro culture, whether it be vocals, instruments or bodily movement. Sakidila is a self-portrait of freedom and joy; liberation. An open hearted rendition that seeks to rally against the trauma of the Angolan Civil War that decimated the country between 1975 and 2002, and too against the global pandemic. Pongo uses her experiences in Angola and Lisbon to create an amalgamation of her existence and desires in time finite.

I for one am excited at just how we are now becoming more and more conscious of Africa’s diversity in terms of people and their experience, which is then relayed in sound, away from monolithic representations seen on media. Pongo encompasses this awakening, and too an example of Africans from different parts of the continent collaborating, and assisting in showcasing their idiosyncratic cultures. I am of the firm belief that eminence can emerge from vacuums, and Pongo is that.

Stream Sakidila HERE: