My first assignment for Texx & the City — the assignment that kicked off my career as a music journalist, in fact — was covering Cape Town International Jazz Festival 2019. It was terrifying and exciting and a dream come true. And, ‘cause of 2020, the last Jazz Fest I’d cover… until now. Well, Chad Camarinha (photographer and ride or die) and I are back on official TATC business, and this is what Day 1 of our return to “Africa’s Grandest Gathering” looked like.
The Ploemies — Mannenberg stage
First up on the itinerary was The Ploemies, a 4-piece band “honouring and reimagining the sound of South African jazz.” Opening up with Duncan Johnson’s (saxophonist) “Os Gat Kaap Toe,” they performed music from their debut album, Unfinished Business, that they’d released just two weeks prior. Hailing from Hanover Park, a coloured township in Cape Town, a number of heart-wrenching compositions were dedicated to fallen friends, family, and heroes. They kept it real, when they weren’t getting us to shake our booties, a beautiful way to start the festival. Also, their improvisation chops had my jaw constantly on the floor.
Donvino Prins, Cameron Ward, Jonathan Rubain, & Kyle Shepherd — Kippies Stage
A rare reunion of four musos who’ve established themselves on the local and international scenes each doing their own thing, it was the first time since the early noughties that the all-star group shared a stage. Joined by three other musicians, the goal was, as Donvino (saxophonist) explained, “to morph into one big ball of energy,” and that’s exactly what happened. You got the sense that the players on stage were just as excited as the audience to hear the next solo or to play the next banger. Before we knew it, we were all dancing and singing, “Hoor net hoe lekker sing die goema” — Afrikaans music has never slapped so hard.
Muneeb Hermans — Moses Molelekwa Stage
Coloured Cape Town seemed to be leading the charge for Day 1 ‘cause next up was Muneeb Hermans — a remarkable trumpet player — and his quintet, all of whom I’ve met on the scene and am a fan of respectively. There was so much space in the music, so much respect amongst the players. Hermans announced, “As much as this is my gig, we are featuring the band’s music,” a generous and rewarding move on his part. Sanby’s (bassist) Inner Peace and Bellairs’ (saxophonist) Mankuku stood out as favourites, and while everyone played stunning solos, Hermans’ trumpet mastery was unmatched.
The Brother Moves On — Mannenberg Stage
The Brother Moves On is always keeping it fresh, and keeping me on my toes. Knowing full well that we need to hear it, I’m always just a little nervous about the truth bombs that Siya Mthembu (lead vocalist) will inevitably drop. Whether you understood his clarion calls or not, you surely felt the power behind them, and felt compelled to join in as he chanted, “Amandla awethu.” The set had a strong undercurrent of rock, accentuated by dirty reggae rhythms. Halfway through, the band shed their tops, dad bods out flaring, covering every inch of the stage and rallying the audience. Let’s just say that if TBMO came to recruit, they left with more than the required number of signatures.
Masego – Kippies Stage
Masego stepped on stage and the crowd lost it. He played “Navajo,” which I recognised, “Old Age,” which I found so sexy, and so many other bangers everyone (but me) knew the lyrics of. When he tossed a bouquet of roses into the audience and I felt the venue reverberate, I realised the magnitude of his swag and was humbled. Also, I really appreciated that he settled the pronunciation debate, confirming that it’s Masego with a South African “gghh.”
Kandace Springs — Moses Molelekwa Stage
Hailing from Nashville, “Music City aka Home of the Drunk Bachelorette Party,” as she joked, Kandace Springs is black American music royalty. Her late father, Kenneth ‘Scat’ Springs — who a lot of her set was dedicated to — used to sing backup for Aretha Franklin, and she’s collabed with actual legends like Prince, Norah Jones, and Christian McBride. And when Springs and her trio came on stage, you genuinely felt there was something extra special about the big-haired beauty. Her voice was deep, velvety, and alluring as she sang some bossa nova-inspired ballads, and she really knows her way around a piano. The trio brought a queen-like class to Day 1’s male-dominated lineup.
Incognito — Manneberg Stage
More than four decades and nineteen albums later, Incognito’s music literally transcends generations. They’d performed the previous night at Free Concert in Greenmarket square which was clearly just a warmup, because the level of energy they brought to the Mannenberg stage was electrifying. It was all sequins and tassels, airtight horn lines and harmonies, banging away at the drums and percussion like their lives depended on it, and powerful vocals. Bluey (band leader) shared anecdotes of performing with an exiled Hugh Masekela during apartheid, so you can understand their special relationship with South Africa. Additionally, with classics like “Still A Friend of Mine,” they were the soundtrack to so many Sundays in coloured households all across South Africa — such a necessary homecoming.
Black Coffee & Nduduzo Makhathini — Kippies Stage
Black Coffee & Nduduzo Makhathini were one of the first acts announced for CTIJF2025, and what a way to break the ice. It was their first live performance, and certainly their first collab including a 10-piece orchestra, 3-part horn section, with iconic vocal features by Busi, Msaki (my favourite), and Mondli Ngcobo. It was a very long set so, understandably, it’d be a slow-burner. That’s what he does best, after all, create a cinematic build-up. The vocal features were fantastic — Busi’s not so much, ‘cause her mic was only turned on halfway through her song — and I loved the interplay between Msaki and Robin Fassie (trumpet). Even though it was late, it was by far the biggest audience of the night, and they loved every second of it.
TKZee — Mannenberg Stage
Yes, I was operating on empty at this point but there was no way I was going to pass up what could very likely be the last time I get to see TKZee. I’m a ‘90s kid from Pretoria, so I grew up with kwaito, and with their music specifically. I had no idea what I was singing back in the ‘90s and while that bit hasn’t changed, but I was singing along at the top of my lungs, especially when they performed “Dlala Mapantsula.” Also, I’ve gotta hand it to them, their stage presence and dance moves had me feeling like they’d never taken a hiatus. They were an interesting addition to the lineup, but the people were there for every bit of the kwaito nostalgia and I was genuinely happier ending my night with Zwai Bala and Kabelo, than I’d have been ending it with Black Coffee.
You know when you go to a party and you know everyone there, and they’re all your favourite choms, and you don’t feel the need to duck and dive to avoid anyone? That’s exactly what Day 1 of the Cape Town International Jazz Festival felt like, set to a very well-curated soundtrack.
Check back tomorrow for our review of Day 2.
All pics courtesy of Chad Camarinha.
