the zambian music series, part five: contemporary zambian music
the contemporary zambian music scene is, by any reasonable assessment, the most internationally connected it has ever been. smartphone penetration, streaming platforms, social media, and the global appetite for african music that has grown dramatically since the rise of afrobeats has created conditions in which a zambian artist can reach listeners in london, lagos, johannesburg, and nairobi without a record label, a radio promotion budget, or a tour.
macky 2 ā mulako wamunyima, born in lusaka, one of the most commercially successful zambian hip-hop artists of his generation. his music blends english and nyanja/bemba lyrics in a code-switching style that reflects the linguistic reality of urban zambia ā the world where bemba and nyanja are the dominant urban languages and english is the language of formal life. multiple ngoma award wins. a benchmark for what commercial success in zambian music looks like.
yo maps ā elton mulenga, one of the most widely listened-to zambian musicians of the current decade. afropop, urban grooves, smooth melodic vocal style. forever is one of the most streamed zambian songs in history. the generation of zambian artists less concerned with defining a specifically zambian genre and more concerned with making music that travels ā that sounds at home on a playlist next to nigerian afrobeats or south african amapiano while still having a zambian vocal character and a zambian emotional register.
chef 187 ā kondwani kaira, one of the most lyrically accomplished zambian hip-hop artists of any generation. verbal dexterity ā speed, internal rhyme schemes, wordplay in bemba and english ā that has earned comparisons to the finest lyricists in african hip-hop. rooted in the copperbelt's urban culture in a way that connects to the kalindula and zamrock tradition of music as the expression of a specific place and a specific historical moment.
slap dee ā mwila musonda, the veteran of the contemporary scene whose career stretches back to the mid-2000s and who has remained relevant through stylistic evolution across more than fifteen years.
the contemporary zambian music scene is not lagos. it is not johannesburg. it does not need to be. it is zambia ā making music from a specific culture, a specific history, a specific set of languages and rhythms and experiences ā and increasingly making that music in ways that the world beyond zambia's borders can find and hear.
the zambian music series continues. šµ
