In Conversation with Nhlanhla Ngqaqu

What began as a casual chat to get to know the jazz band Iphupho L’ka Biko quickly turned into an eye-opening conversation that left me feeling deeply inspired, with a renewed appreciation for their craft, message, and the profound purpose behind their music.

Nhlanhla Ngqagu, the band’s founder and key member, shared insightful reflections on what drives their sound and the deeper motivations behind their work. I’m convinced that no one can listen to their music without being moved, and my conversation with him illuminated how, at the heart of their artistry, lies radical love, intentionality, and a steadfast commitment to purpose as creators.

As Iphupho L’ka Biko prepares to take the stage at the Joy of Jazz for the first time, I hope this piece inspires you to not only experience their live performance with a deeper appreciation but also to connect more profoundly with yourself through their music.

Read below…

What took me by surprise is how big your band is! How did you go about selecting the members? Has it always been an ensemble of 14?

No, it hasn’t always been this big. When I started the band back in 2015, we were just six members. Over time, more people joined as the band evolved. The growth was organic. We made connections with others in the industry—teachers, musicians we admired—and slowly built up the ensemble. People sometimes ask why we need such a large group, especially when there’s not much money to go around, but I believe there’s power in numbers, particularly when it’s about representing young, talented Black bodies on stage, delivering powerful messages.

It seems like being part of the Joy of Jazz festival is important to you. Can you tell us why that is?

Yes, it’s really important for us. This is the first pure jazz festival we’ve been part of, and it feels like the right platform. They really understand jazz and respect its tradition. The audience that comes to Joy of Jazz appreciates the type of music we do, which isn’t always the case with other festivals. At other events, sometimes the lineup isn’t even jazz, and we have to work hard to win over crowds who don’t even listen to jazz. But here, we’re playing for people who know and love the genre.

How important is the relationship between you and your audience?

It’s essential. I believe that growth as an artist or performer is based on seeing new faces in the audience. It’s always great to see familiar faces, too, as it shows you’ve stayed true to your values, but it’s the new faces that represent growth. For us, being at this festival is about winning more souls over, spreading our message of spiritual grounding, Pan-Africanism, and Black consciousness. Our music is about reclaiming dignity and addressing the root causes of social ills, and we want to connect with those who resonate with that.

Would you say that your music acts as a form of activism?

Absolutely. I believe that, as an artist, you’re essentially a vessel for certain messages. You have the choice to either water down those messages or deliver them as purely as possible. Our music, from the beginning, has always been about confronting systemic oppression, addressing the question of Blackness, and refusing to compromise the message. We’ve never shied away from discussing these themes, even when it means being excluded from certain spaces because of how we address race, class, and gender.

Your music blends jazz with narratives of struggle. Why is that significant, and what do you hope listeners take away from that?

It is important because jazz, at its core, carries a rich history rooted in struggle. Jazz was appropriated by those who initially rejected it, and over time, it was diluted by classism and elitism. Today, jazz is often seen as music for a select few, distant from its origins. Our goal is to trace jazz back to its African roots, to reclaim it as the revolutionary music it has always been. We hope that listeners pick up on the narratives of resistance and liberation embedded in our sound. Jazz wasn’t created for wine, cigars, and suits—it was born out of frustration, as a way for people to express their humanity and fight against oppression.

You mentioned spirituality earlier. Do dreams or a sense of purpose influence your music?

Yes, dreams play a huge role in our music, both literally and metaphorically. Personally, I believe I have the gift of dreams and interpretation, and some of our melodies have come to me in my sleep. Sometimes, I’ll dream of recording a song, only to wake up and realize it was just a dream, but other times I’m able to capture those ideas and bring them into reality. Beyond the psyche, I’m known to be a dreamer in life as well—someone with big ambitions for the future. That’s part of what inspired the name of the band, iPhupho.

The name reflects both the dreams we have for the continent and for our music. It’s about realizing the dreams that have been passed down from our ancestors, people like King Moshoeshoe and Miriam Makeba, who fought for dignity and freedom. We’re continuing their fight, aiming for a future where Black people are independent, free, and dignified.

Has traveling and experiencing different cultures influenced your sound?

For me, no matter where we go, we carry the essence of home with us. Whether it’s Vietnam or anywhere else, the music always brings us back to our roots. We grew up with a mix of sounds—everything from choral music to struggle songs and even popular icons like Michael Jackson. Those influences are part of us. In recent years, South Africa’s popular music, like amapiano, has also impacted the soundscape around us, and we can’t help but feel those vibrations in our music. But at the core, the message of our music hasn’t changed: it’s about land, freedom, and love.

Are there any rituals or practices the band follows before performances or recording sessions?

There are. As the leader of the band, I had to navigate those spiritual practices carefully at first, especially since some early members were not from African backgrounds. Over time, though, we’ve found common ground. Prayer has become central to our process. Before rehearsals, before we travel, and before performances, we always take a moment to pray. It’s a way of grounding ourselves, giving thanks, and seeking guidance. That spiritual element has always been a part of our music—it’s about more than just sound; it’s about conveying something deeper.

You’re performing at the Joy of Jazz festival soon. How does it feel to be shaping the landscape of contemporary jazz in South Africa?

We’re not just trying to shape the jazz landscape—we want to turn things around for Black people in a broader sense. Jazz is an important part of that, but our goal is to inspire people to take action. We want people to leave our performances understanding that no one is coming to save us. As Black people, we need to love each other, unite, and secure a prosperous future for our descendants. It’s about planting the seeds of change today, even if we don’t live to see the full harvest. We want our music to reflect that urgency.

Catch iPhupho L’ka Biko perform live at the upcoming Standard Bank Joy of Jazz…

Tickets are still available on TicketMaster.

But first…

Quick fire round:

Who are you currently listening to?

Lately, I’ve been listening to Sia Shezi, Pro-Kid, and Rulani. They’re all hip-hop artists, and their music resonates with me, especially in terms of storytelling and expression.

What’s something we should bring back or that should never get old?

We need to bring back the land. That’s the foundation of dignity and independence for our people.

Next year, your band turns 10. Can we expect a new album?

Yes! We just released an EP, but we’re planning to record an album soon, and hopefully, it will be ready by the time we celebrate our 10-year anniversary. Stay tuned for that!

What’s something that jazz and music culture need to do away with?

Classism. Jazz spaces can be incredibly toxic because they’re so exclusive. The first thing people notice is how you’re dressed or what you’re playing. It’s a problem, and that’s why I’ve distanced myself from certain jazz circles. I prefer to engage with people from other disciplines—writers, fine artists, theater practitioners—where there’s more genuine exchange and less judgment.

Finish this sentence: Jazz is…

Jazz is improvisation. There’s no jazz without it. It’s about freedom of expression in the moment.