In Conversation with Spha Mdlalose

Spha Mdlalose is a certified artist, songwriter, and all-around creative who has made a lasting impact on the music industry. Recently earning her MBA, she’s taken it upon herself to explore the impact of digitisation on musicians and visual artists in South Africa through her research paper.

Spha is also one of my favourite people to talk to, not just as an artist or creative, but as a person. She’s passionate about her craft and deeply knowledgeable, having invested time into understanding the music industry as a business. She offers thoughtful critiques when needed, and her infectious energy makes every conversation an absolute joy.

Ahead of her upcoming Joy of Jazz performance, we caught up with Spha to chat about life since our conversation on The Jazz Colloquies, her new music, her evolving approach to the industry, and much more.

Read our conversation below…

A lot has happened since our last conversation on this platform, you’ve graduated with a Masters, had a baby, and got back to stage, how was that period of your life and how have you been?

It went really well. I mean, I finished my master’s! At that point, I was about two months away from giving birth, so it was a huge relief to have it all done. One of the things I really wanted was to fully enjoy her birth, so I put a lot of pressure on myself to finish my research paper and everything else. But it was amazing. By the time I graduated, she had been born. In fact, she came to the graduation – both of my kids did.

It’s been beautiful. I’m really excited and happy that this chapter of my life is over. I don’t see myself going back to school anytime soon. In another interview, someone asked me how I felt about it all, and I think they expected some big emotions, but honestly, I just feel like I’m done with that part of my life. It’s not just about finishing school – it’s more like that phase of having kids and juggling everything is over. I’m not having any more kids.

It almost feels like a new chapter is beginning, where I want to focus on making more music and really re-engaging with the world musically.

You, in and around that period of your life, were understandably quiet but still found time for some collaborative work and performances, such as for Brew alongside Titi Luzipo and Zoe Modiga and the What is Wrong with Groovin’ project with Dj Kenzhero. How was the experience of working on these projects?

Working on Kenzhero’s project was amazing. Kenzhero is someone I’ve admired since my varsity days, back when I was in Cape Town. He used to host these incredible parties at a spot called Zulubar on Long Street, and just thinking about it brings back so many great memories. It’s been such a joy to work with him, he’s super dope, very chilled, and extremely well-connected.

One of the really cool gigs we did as part of What’s Wrong with Groovin’ was at Back to the City, we were asked to do an artist tribute, honoring musicians who had passed away – it was really special. The project’s been quietly working here and there, and we were even involved in putting together a package for Lalah Hathaway when she was in the country for a show. We’ve been moving under the radar, but doing really good work. It would be nice to perform with the whole crew, and hopefully, we can do it in the future. I feel like we haven’t performed together enough. It’s tricky with so many people and different schedules, but I think it would be great for people to see us in action. There’s something about live music that converts people, you know? It makes them realize just how dope the vibe really is.

Performing with Zoe and Titi is always a vibe too. We’ve known each other for a long time – since our Cape Town days and it’s always fun when we link up. We were all surprised at how ‘Brew’ blew up. It started with us casually saying, ‘Let’s just sing together,’ and then next thing you know, it’s a whole thing. It caught us off guard in the best way, and maybe that’s why we’re not gigging as much. There’s so much going on in each of our lives, it’s hard to align everything. But those are my people.

You are now back performing and putting on live shows, has there been a thinking behind the curation of your live performances and how you’ve gone about them?

My approach to live performances has been pretty fluid this year. There hasn’t been a strict strategy behind curating shows, but rather, I’ve focused on performing as much as possible, especially after having my baby and finishing my thesis. My goal was to get back out there and reconnect with audiences, even in unconventional settings. Some gigs, like private shows, are tailored to the client’s requests, while others, like smaller, more intimate venues, allow me to strip things down and experiment with different setups.

At times, I find that a stripped-back performance creates a special kind of vulnerability, which can be really beautiful. However, for bigger festivals like Joy of Jazz, I’ll be performing with a full six-piece band, true to how the album was recorded.

Overall, the main focus has been sharing the music and having a good time with the audience, rather than feeling pressured to do anything extravagant or out of character. Each show has its own vibe, and I’m excited to perform and close out this chapter of the album before moving on to the next phase of my music.

Speaking of live performances, how was it performing at Wits?

Performing at Wits was a big vibe! I love anything that involves students because they bring such a vibrant energy. The gig had that exact energy – the music streamed out, and it felt amazing. It’s always humbling when people know the songs, and I’ll never get used to that. It’s not something that gets old; it’s affirming in so many ways.

This performance was especially affirming because it was for a young audience, and it breaks the stereotype that young people don’t listen to jazz, which I think is nonsense. The venue itself was stunning, and I feel like it doesn’t get enough attention. I hadn’t seen it before, but it’s such a beautiful space. I really hope they host more events there, and I’d love to go back.

How has the general audience reception been to you performing again?

The audience reception has been incredible, honestly. People really love the music, and it’s so humbling to witness that. Just yesterday at the Joy of Jazz workshop, this young person came up to me, excitedly saying how they recognized me and just wanted to sing along. Moments like that remind me of the impact the music has on people, which is something you never fully anticipate when you start out.

It’s been a blessing to have the love and support continue after all this time, and it’s truly beautiful. That said, I’m itching to release new music – I feel like it’s time for the next chapter!

Someone recently told me that my music doesn’t sound like anyone else’s, and I love that. I’m excited to explore that uniqueness and push the sound further. I also want to break out of the jazz narrative I’ve kind of placed on myself. I’d love for the new music to have more commercial appeal, though I do argue that some songs on my album already have that potential – it’s all about how it’s marketed. But yeah, I’m ready to get back in the studio and cook up something new!

Does the prospect of the upcoming Joy of Jazz performance scare you?

I don’t see it that way. The music made it to Joy of Jazz because of its own merit, and I believe in what we’ve built. I’ve seen how some artists, when booked for festivals, feel pressure to change things up or bring in other musicians to play for them, almost losing touch with what they’ve created. But for me, it’s about sticking with what works. We’ve crafted something that resonates with people, and that’s why they come to the shows.

It’s not about trying to outdo myself or feeling scared – it’s about sharing that same energy with more people and creating an even better vibe with a larger audience. It’s going to be a good time.

Actually, my only concern is going over time, especially since our shows are so interactive and the energy from the crowd can really extend the set. It’s always a challenge to keep things within the allocated hour. But honestly, I’m just encouraging everyone to bring their full selves, their warm voices, and let’s make the most of the time we have. We’ll have a great time no matter what!

Are you excited?

I’m definitely excited! There are always little logistical things, like sound check times and other small details, that can be a bit frustrating, but overall, the excitement is there. My parents are coming, and there’s a real buzz around the house – everyone’s excited. I’m always excited to perform, connect with people, and just have a good time on stage.

How important is the Joy of Jazz platform beyond being just a jazz festival?

I think there is a gap in music education that is not necessarily learning music but in the business side and the other side of what it takes to be an artist or a professional in the art. Joy of Jazz do their bit in that regard and have been doing it for years now, they also do much in upskilling people in different roles through their festivals.

Catch Spha Mdlalose perform live at the upcoming Standard Bank Joy of Jazz…

Tickets are still available on TicketMaster.