The infatuation this generation has with spirituality is unlike anything we’ve seen before. Be it heeding the calling yok’thwasa, the obsession with astrology or numerology- the youngins need their chakras activated. So it’s more imperative to have spiritually astute artists like Sibusile Xaba now, than any other time. Much like in the 1960s and ’70s when the world was politically charged; the role of a Fela Kuthi and a Bob Marley was quite significant during that period.
“Ku balulekile to connect with the Creator. For me that’s the ultimate. Even ukuthwasa and the vibe that’s in the air right now, it’s a sign that people are trying to find themselves,” says Xaba.
For him, people are tracing back steps of who they are, beyond religion, faith or belief but to a time when spirituality was the way of living. “…it’s before things were documented or before the human race was separated into nations, there was a way of living which didn’t necessarily have a set process of connecting to the Creator. There wasn’t a need to go to church and connect with a middle man, be it Jesus Christ or Muhammad or anyone, to get closer to Umdali. We were one with the Creator. The disconnection and confusion came about when the mind was activated; that you must believe or have faith in something, and no longer your will. It’s now a process justified by names that mould it,” the artist from KwaZulu-Natal says.
Xaba is pleased with this generation’s insistence on connecting to the Creator and believes this will help remove divisions brought by tribes, nations and race. “The Zulu nation will say they are the greatest in the South, in Mali they’ll also says they are the greatest, in Egypt, in Ethiopia they’ll say the same thing…so there’s something amiss here…and even when you come to spirituality, you find that some people think they are superior or more gifted than others but the Creator gave us all gifts and they’re all the same. You have the gift to heal self because you’re connected to the Creator. Whether it’s telepathy, prophesy all those things. Now they just have words, but before it was the way,” the artists says.
Alone in a Braamfontein bookstore, The Commune, Sibusile Xaba and I sit post his intimate performance at The Forge just a few minutes ago. The performance was to promote his new album Ngiwu Shwabada which was released the day before, on Valentine’s Day.
He looks a normal civilian now with his locks down, wearing chino pants and a simple black T-shirt and a pair of sneakers- as oppose to minutes ago on stage when he had ankle shakers above his mbatata sandals, with his lower body covered only by cloth and had a dashiki on, dreads tied back, with guitar in hand. It’s akin to seeing Superman without his suite and cape, uClark Kent nje. But there’s a difference. Sibusile Xaba doesn’t have a moniker to hide behind and despite the apparel, he remains Sibusile Xaba with the same message as that fella on stage. His underlying message? 1Luv.
“…let’s practice uku thandana, uku bambana, ukuxhasana, it’ll go a long way. I know you’re thinking ‘ai lo mjita udlala isiginci, maku nguye ngabo one love, one love…but no, it’s the power we have inside, we have forgotten what we have within and if we were to take that out, the world would transform,” says Xaba, calmly sharing his philosophy with the audience between his performance.
The one love phrase is a simple one, but it’s the ultimate truth in that we’re all creation made by the Creator- it is truth that he stands on, which helps cut through bullshit that polarizes humanity. Despite the assortment of energies in his audience, the effect of Sibusile’s music is the same, it’s calming. “Ah we’re just messengers mfowethu, it’s not us, and we’re just here to share what we hear, with a pure heart,” he humbly says. Sibusile shared the stage with Naftali, who he says contributed to his current album.
It’s puzzling that he only has two projects, the first one being Open Letter to Adoniah which came to him through dreams. “It was just so natural and so peaceful you know…eDNA yayo didn’t have any negativity, so I just welcomed it.”
He speaks casually about how music from his previous album came about. “Kodwa why is it a thing, because we dream always. I think for creatives that happens a lot, even for you as a writer I’m sure things happen subliminally or things might feel like déjà vu or a vision. For me it was quite normal, the only thing I didn’t understand was that it happened izintsuku z’landelana.”
Ngiwu Shwabada is a continuation of the same modus operandi. “I was telling usista daar ku Jazzuary ukuthi now that I practice this [receiving music through dreams] I get different dreams saying different things and it’s not like now yonke into eng’zwayo ngi zoyenza ingoma, you understand. Le ye ngoma iyazisho. It’s like someone whispers into my ear.”
He tells me he’s delved deeper in this project, than he did with the 2017 Open Letter to Adoniah. “I understand ukuthi you have to connect to the universe and listen. By being still you can listen and hear things that the polluted ear wouldn’t necessarily hear.”
The sophomore 12 track album was recorded last year in Paris, France. It’s a beautiful body of work that takes one to so many places, all at once. The last track on the album is an 18 minute collaboration with Shabaka Hutchings, titled Phefumla. Sibusile’s scatting on the track is like a conversation between him and Hutchings’s saxophone. There’s also a song paying homage to his mentor, Madala Kunene on the album. “Ai mfwethu I was so scared to play that song,” he tells me cracking in laughter. “..I played it for him and he’s like ‘hai, yaz mina ang’yizwa le ngoma’ and he’s so honest about it,” says Xaba, of Kunene’s response to Tribute to Bafo.
Sibusile is part of a growing community of black creatives who share ideas, who seem to be conscious of those who came before them and who understand the importance of unity among black creatives, from all around the world. The likes of Thandi Ntuli, Shabaka and the Ancestors, Thabang Tabane, Musa Mashiane, Nduduzo Makhatini and plenty others. “There’s a serious community of Africans across the globe and it’s beautiful bra wami. Kats are so united man, stretching themselves, working together and sharing contacts. It’s not perfect, but it’s better than being selfish and keeping everything to yourself. It’s powerful.”