Gqom Music: Durban sound unmasks its identity.

With only but two years short of a decade, since 2010, the literally predecessor to this very piece of writing came to fruition. An opportune experience indeed, the work titled “Woz’ eDurban – iTheku sound is taking over Kwaito-land”, was published via the hard copy version of Musik Mag Afrika – the 7th issue, marking my debut as a feature writer. What makes the subject matter at hand particularly phenomenal is that, it is a hypothetical sequel.

A unique sound emerged from the city of Durban, circa 2005. When it made its first forays into the music industry, it was then, dispassionately, referred to as ‘Durban Kwaito’. However, it has since carved its own identity, clearly distinguishable from other genres. “Our sound includes a lot of different elements, we don’t stick to one style, take the song uMlilo for instance, it’s more of a techno sound. These days when Pop music lovers speak about a new track they just heard on radio, they would say to their peers something like ‘Did you hear that DJ Cleo track, it has that Durban sound to it, it’s hot…” said Mandla ‘Mampintsha’Maphumulo.

Though, in its novelty as a genre on its own accord, Gqom Music far precedes its name. As a product of its environment, that is none other than the city of Durban, a region where the populace is predominantly the Zulu Native Tribe by culture and language. The term Gqom, iGqomu or iyaGqoma – stems from stressing the sound syllable formed when the consonants ‘G’ and ‘Q’ are coupled, resulting in an emphatic click of the tongue.

Since mid 1990s, the sound of music bellowing from every other mini bus taxi emitted a thunderous roar, with a ripple effect of seismic proportions. This saw the coinage of the term iyaGqoma (it has some Gqom to it) – an interpolation from the sound of thunder.

Among pioneers and notable contributors to hit songs of the said genre, are the likes of DJ Tira, Babez Wo Dumo, DJ Maphorisa, Busiswa (Kalawa Chikita), Big Nuz,

Distruction Boyz, DJ LAG and others come to the fore.

The impact of Gqom Music proves to blur racial divides; DJ Ngamla is a prime example. The latter adopted the alias ‘ngamla’ – a colloquial term for a Caucasian person.

“What makes the Durban sound unique is that we create music from scratch as opposed to compiling albums from reproduced tracks” Bongani ‘DJ Bongz’Dlamini, had to say.

Imperial and far reaching, Gqom Music artists are no strangers of jet setting and international performances. A number of most celebrated international Pop acts occasionally incorporate some of the dance moves popularized by Gqom Music. Whether in videos or when performing live. A hit track by Babez Wo Dumo found it’s way into the sound track of an extremely sought after motion picture - Black Panther.

What I could deduce on the early encounters with this unique sound, pertaining to the lyrics or vocals of most Gqom Music is reference to opulent indulgence and self-actualization and borderline risqué behavior and promiscuity. With that said, the message does not, however, bare anything suggestive of decadence. Somehow it comes across as jubilant, innocent fun, not necessarily attracting aversion towards the content.

Just to point out the obvious. Both instrumental and lyrical delivery, compliment each other in a reciprocal form of synergy. On occasion, in some parts of the production there is vocal mimicry of a melody that forms part of the beat, either in actual words or melodic hymns.

One seldom finds Gqom songs performed by a solo vocalist. Owing to the key elements of the genre, in that, more often than not, the vocal arrangement resembles a dialog – at times one artist narrates the story, the other(s) testify to what is being said by the lead vocalist.

“Usually the girls idolize the guys, and they go to clubs, parties and events to see so and so performing or DJ-ing, and most of the time it depends on who’s got more style and prowess”…Linda Sibiya (Ukhozi FM) adds.

Ultimately, Gqom Music forges unity across the business of entertainment, indirectly. Within its own echelons as a genre, it proves to empower more aspiring artists, as well as aficionados. “I think it’s better to work together to get different ideas from each other…because, into ebalulekile ukuthi sibambisane (what is important is for us to stick together)”…L’vovo Derango would say.

It is laden with collaborations, compared to its musical counterparts. Which is not limited to producers – vocalists and dancers as such, at times, socialites, actors, even rappers. It all ranges from features to cameos in music videos. One may mention how quotable the content is. So much so, those who hold official positions in government, leaders in business and religion paraphrase and make references, borrowing from this sensational form of music to make a point is some of their public address.

In conclusion, one can confidently infer that much is encapsulated in the name and music. Enough that hearing the word Gqom induces expectations about the sound – to which the sound certainly steps up to the plate.

References:

* Masango, N (2010). Musik Mag Afrika – issue 7. “Woz’eDurban – iTheku sound is taking over Kwaito-land”. Page 21.