/ 27 January 2025

Singing her truth: Ncesh Nonxishi’s path to releasing Apho Kungenje

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Ncesh Nonxishi. (Lebogang Tlhako)

Ncesh Nonxishi, recently released her debut album, Apho Kungenje, an exciting and at times surprising blend of Xhosa folk, afro jazz and R&B. It was a project years in the making and one she describes as a life-defining milestone.

Despite having spent decades writing songs and performing sporadically, it wasn’t until she was approaching her 40th birthday that Nonxishi decided to pursue music seriously. 

“I had to ask myself, if I were to die tomorrow, what is the one thing I’d be unhappy I never pursued? The answer was music,” she reflects.

Her journey to this decision was neither straightforward nor free of doubt. While her younger years were marked by open mic nights at Rhodes University and a stint as a backup singer for Xhosa reggae artist, Nathi B music mainly remained a private passion. 

Life in Johannesburg, a career in the media industry and the demands of being the eldest child in her family left little space for her artistic pursuits. 

“There’s a lot of traffic in my head,” she admits. “I’ve always had so many ideas but at a certain point I had to choose one to focus on.”

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Taking the Leap

In 2017, Nonxishi began taking vocal lessons to build her confidence, first with Gabi Motuba and later with Ziza Muftic, both Johannesburg-based musicians. 

By 2020, she had performed her first solo show — an intimate, Covid-era house concert for a small audience in Johannesburg’s Melville suburb. Over the next few years, she organised and funded 10 performances to hone her craft, building the courage to record her first album.

Her search for a producer eventually led her to Bokani Dyer, the acclaimed South

African jazz pianist and composer. Dyer’s guidance brought clarity and polish to Apho Kungenje

“On this album, you can tell that she’s a thinker,” says Dyer. “You can tell that she’s aware of her surroundings. And I think she’s a great songwriter. It’s one of those special things that you can’t be taught — how to write a song that’s balanced — because you’re creating something out of nothing.

“So how do you know how much salt to put here or how much spice to add there, you know? So, it’s a weird thing where sometimes you just meet people and you’re like, ‘Okay, this person really has a great talent at this.’ 

“I think she’s a really good songwriter and I really enjoyed working on the music in this album.”

Nonxishi describes her album as “unpredictable”, a reflection of her ongoing exploration as an artist. 

“The sound of Apho Kungenje is that of someone who is loyal to a range of differing ideas,” she explains. 

Tracks like Poqo defy traditional song structures, leaving some of the musicians she works with unsure where the music would go next, when they first heard the song. In contrast, songs like Tshomi offer a comforting predictability, with melodies that invite listeners to sing along.

Lyrically, the album delves into deeply personal and political themes, including anti-blackness, the struggles of black women and the shortcomings of governance. The title,

Apho Kungenje, which means, “I am going wherever circumstances are different”, is a nod to her Xhosa heritage.

It recalls a cheeky retort often used by women to deflect questions about their plans: “It’s a sassy way of saying, ‘Don’t ask me too many questions, just let me be.’ A lot of my music is about me expressing my frustration about a range of things like injustice and anti-blackness and my yearning for a different world to emerge where these things don’t exist.” 

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A Journey worth taking

Nonxishi’s debut album, Apho Kungenje, is a bold, introspective exploration of identity, resistance and longing for a better world. Rooted in the duality of self-possession and deep social commentary, it encapsulates a desire for an imagined place where the struggles and injustices of the world dissolve — a theme that reverberates throughout the album’s seven songs.

Opening with Zhizo Zizo, the album immediately grounds itself in historical consciousness. The song reflects on the lost grandeur of African civilisations like

Mapungubwe, lamenting a legacy tarnished by colonisation. 

The imagery of “her shadow cast over hundreds of years” and the repeated acknowledgment that “they tried to hide the golden rhino, but she knows” evokes resilience and pride in cultural heritage. The chorus’s chant, “The Zhizo, the Zhizo,” acts as a rallying cry for reclaiming erased histories. At the same time, the song questions our romanticisation of such civilisations. 

The sense of dispossession continues in Lodo Mhlada Bada, where Nonxishi questions the efficacy of protest music in a world rife with anti-blackness. The stark refrain, “This land is not theirs,” paired with the haunting closing line, “We are orphans without songs,” captures the tension between resistance and the seemingly insurmountable weight of grief.

Not all of the album is steeped in sorrow though. Songs like Ebhedini and Tshomi explore joy and intimacy, both sexual and platonic. Ebhedini is a playful ode to sensuality, drawing from Xhosa folk traditions that explore expressions of sexuality.

With its cheeky lines like “We can be busy at 7, 7:30 and at 8 o’clock, but I’m not saying we must go until 11 o’clock,” the song’s humour and rhythm make it a standout moment of levity.

Tshomi, meanwhile, is a heartfelt tribute to enduring friendship. The lyrics, “Life’s ups and downs are made so much easier by you, friend,” celebrate the quiet strength of companionship, underscoring how personal connections anchor us amid life’s turbulence. 

Ndinethemba Uzobuya and Kind Regards tackle contemporary struggles with striking vulnerability.

Apho Kungenje is a promising debut that blends the personal and political with lyrical depth and musical innovation. Each song offers a piece of Nonxishi’s vision for a world transformed — a place where injustices are undone, intimacy thrives and art provides a lifeline. Through her deft interplay of humour, sorrow and defiance, Nonxishi crafts an album that resonates as both a call to action and a balm for weary souls.

Reflections and resilience

Nonxishi credits artists like Thandiswa Mazwai, Simphiwe Dana, Miriam Makeba and

Busi Mhlongo for shaping her musical sensibilities. But she is equally drawn to boundary-pushing performers like Laura Mvula and Cécile McLorin Salvant, who inspire her to follow her instincts and defy expectations.

“Artists who refuse to be boxed in really excite me,” she says. “I love that kind of bravery — the willingness to completely switch things up and do what feels authentic to you, no matter what people expect.”

As an independent artist, Nonxishi is candid about the difficulties she’s faced. From managing logistics to funding rehearsals and recording sessions, she’s had to wear multiple hats. 

“Being an independent artist is emotionally and financially taxing,” she admits. “It’s hard to even break even, but I’ve told myself this is an investment in my dream.”

With all the difficulty involved in pursuing music independently, Nonxishi is grateful for the people in her life who step up to help. 

“Whether it’s my sister organising meals for some of our rehearsals or my friend offering to pay for my nails without me asking, and even a few people reaching out to buy extra tickets for those who might otherwise not been able to attend, it all makes a huge difference in the context of the incredible costs one ends up paying.”

Despite the challenges, Nonxishi finds fulfilment in knowing she’s finally given herself permission to pursue her passion. 

“I’m at peace because I’ve done the one thing most important to me,” she says. “I could’ve easily let fear get in the way of my dream but I somehow found the courage to finally work on my music and that matters to me more than anything.”

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