My set work for Afrikaans poetry in grade eleven included “Lisa se Klavier”. It was my first interaction with anything Koos Kombuis had written, and I would quickly come to learn that the impact he has had on the musical, cultural and socio-political landscape of South Africa is undeniably monumental. Now, I get the chance to talk to him about his great legacy.
At the age of fourteen, Kombuis learned to play the guitar, leading him down an unexpected path. “I had no idea what lay ahead or that I’d ever become a performer. I just wanted to learn how to play. I guess one thing led to another,” he tells me.
His rise to fame came through the Voëlvry Movement, an anti-apartheid social movement aimed at educating the country’s youth about the harsh realities of the apartheid regime, and in doing so, transcended politics.
Kombuis explains, “One truly positive spinoff of our movement was that it indirectly led to an explosion of popular local culture, especially Afrikaans culture, and a proliferation of arts festivals. That was truly astounding.”
“The Voëlvry Tour and the Afrikaans Protest Movement against apartheid both still stand out as some of the darkest periods of my life,” Kombuis tells me. “Apart from the political issues, and the harassment from the police and right-wingers, I struggled with substance abuse, rooted in my unhappy childhood growing up in a dysfunctional family.”
“I was fortunate to have the support of good and loyal friends, like Johannes Kerkorrel, Dagga-Dirk Uys and Lloyd Ross during those traumatic and chaotic years,” Kombuis continues.
On his role as an activist he says, “Bob Dylan could create protest songs that were masterpieces of artistic composition. But alas, I am not Bob Dylan.”
“My strong point is probably the quieter stuff,” he says, “like ‘Bicycle Sonder ‘n Slot’. I used to do angry stuff and I still do occasionally, but I always return to my mellow, folksy roots.”
Writing is at the core of what Kombuis does. “My dream since I was young was to become a famous author, not a musician. I have been trying for years to stop writing songs,” he says. Still his aspirations to be an author were met with several published works, many of which tell his life story, including Afrikaaans My Darling and Short Drive to Freedom: A Personal Perspective on the Afrikaans Rock Rebellion.
Koos Kombuis, through his long-standing career and contributions, has had a generational impact. Many view him as the so-called Godfather of Afrikaans Rock, with countless local bands citing him as a formative influence. This comes as a result of his poignant yet simplistic songwriting, with favourites including the broody ballad “Onder In My Whiskeyglas”.
Our conversation still fresh in my mind, seeing him perform at Railways Cafe, just weeks after cataract surgery, was a sight to behold
There is something distinct about people who’ve really lived – not just in the sense that they’ve aged, but in the aura they carry. One that quietly says, “I’ve faced life and won in some instances.” Koos Kombuis has such a spirit, one that I immediately recognised when we were introduced that fateful night.
His reserved personality is striking, and it explains why intimate shows are his forte. Before the show, he jokingly said, “I haven’t done one of these in a while, and I had surgery, so I hope they’ll whisk me away afterwards so I can go and rest.”
The performance, filled with anecdotes about touring with Valiant Swart, familiar and new songs often introduced with funny or endearing backstories, kept the crowd engaged.
One slightly jarring aspect was his use of racial slurs in a particular song. While it’s understood that such language comes from a different time, hearing it, even in a manner not intended to be harmful, can be difficult. I note this part of the show because openly discussing language and its meaning is instrumental, I think, in understanding the role indoctrination can play in the way we use our words.
The experience Kombuis has accumulated over years of performance was evident. The slight nervousness I’d spotted earlier had completely vanished by the end of his set. And a standout moment was definitely his haunting rendition of “Johnny Is Nie Dood Nie”, preceded by a moving tribute to his late friend Johannes Kerkorrel.
To start the event off, audiences were also treated to Augusta Zietsman. Her band enchanted the audience with their original songs, which bring to mind Lana Del Rey, and closed with a great cover of The Ramones’ “Bonzo Goes to Bitburg”.
Almost 70-years-old now, Koos Kombuis remains an icon, standing firm in the life he’s lived. A natural born storyteller, an advocate for change, there are parts of his rebellious soul that we will never fully tap into – undoubtedly because there are moments and memories he keeps only to himself. And this perhaps makes his contributions all the more fascinating.
As a country, we have so few pioneers still living and working to preserve the incredibly rich, seldom recognised aspects of our history. But Koos Kombuis is one of them, and for this, we are eternally grateful.
Photos courtesy of Aheesh Singh.
