In Conversation with Zethe

After a deeply personal and soul-searching journey, Singer-songwriter Zethe returns with her latest body of work, Breathe – an album that merges vulnerability, artistic maturity, and sonic growth into something profoundly human. Known for her commanding live performances and a voice that effortlessly moves between grounded soul and soaring jazz-inflected melodies, Zethe is no stranger to transformation.

Having studied jazz at the University of KwaZulu-Natal and crafted a sound that draws on her Zulu heritage, urban influences, and deep-rooted musical training, Zethe is an artist who defies easy categorization. With Breathe, she leans into this freedom, offering a collection of songs that don’t just tell stories—they create safe spaces for emotional release and renewal.

In this intimate conversation, Zethe opens up about her recent performances in Durban, the personal transitions that shaped the album, her creative process with producer Sibusiso Mashiloane, and the tension between artistic integrity and the challenges of navigating the modern music industry. She also reflects on the healing power of music—for both the audience and herself—and what’s next as she continues to write, perform, and grow.

You recently performed two shows in Durban. How was that experience for you, particularly being back in a city so deeply connected to your roots?
Honestly, it was incredibly special. Durban is home for me in more ways than one. I grew up in KZN and studied music at the University of KwaZulu-Natal, where I majored in jazz and earned my degree. So going back to perform wasn’t just another show—it felt like a homecoming. Some parts of the album were even recorded at UKZN’s studio, and my producer Mash, who also lectures there, played a big role in shaping the sound. My family came out to the show, including some relatives who had to travel for two hours just to be there. It was very emotional, especially seeing familiar faces in the audience. It gave me this beautiful sense of everything coming full circle—from where I started as a student to who I am now as an artist. It was a deeply affirming experience.

How have the audiences been receiving the live performances up to this point?
The audience response really moved me. Durban had a different energy from Johannesburg, maybe because by the time I performed in Durban, people had already sat with the album (post release). They weren’t just hearing the songs for the first time—they were singing along, requesting specific tracks. It made me realize how deeply people were connecting with the music. As a performer, that kind of engagement is priceless. I always say I’m not a huge fan of studio work—live performance is where I come alive. There’s something intangible that happens on stage that a recording can never quite capture. We add little extras during shows—different arrangements, extended solos, or completely reimagined parts of the songs—and audiences love that. They feel like they’re getting a one-of-a-kind experience. And that’s the goal—to offer something you can’t stream or download.

What does your live band setup typically look like? Are you intentional about recreating the album’s sound in your performances?
Absolutely. I take my live setup very seriously. While technology allows us to use backing tracks and simulate some of the layered sounds from the album, I still aim to deliver a full-bodied experience. My music is percussion-heavy and guitar-driven, so I always make sure to include guitarists and sometimes even a trumpet. Guitar, in particular, holds a powerful place in African music, and I wanted to honor that in my arrangements. Vocals are also a big part of the show—not just mine, but backing vocals that help create a call-and-response atmosphere. I love that dynamic, where the audience becomes part of the performance. I’ve had one backing vocalist in Durban and two in Joburg, and each addition enriches the live experience. Of course, all of this requires budget—musicians need to be paid, and that can get expensive—but I believe the quality of the art should never be compromised.

You’ve spoken about the financial realities of putting on a show. Can you elaborate on the sacrifices that go into making it all happen?
It’s no secret that putting together a live show is costly. From paying the musicians, to booking rehearsals, to covering travel and accommodation—it all adds up. And while we do it out of love and passion, those expenses are real. People don’t always realize how much goes into crafting those magical moments on stage. The reality for many of us is we’re giving people a transformative experience—something that heals and uplifts—but it comes at a cost. Still, we do it because we know how powerful live music can be, both for us and for those in the audience. It’s not just entertainment—it’s a form of healing, a way to connect with our humanity.

You collaborated with Mash on this project. Given his strong jazz background, how did you strike a balance between that and your broader musical vision?
That collaboration was one of the most rewarding aspects of this project. Mash is an incredibly skilled jazz pianist, and I first started working with him years ago on a separate project. When it came time to work on Breathe, I approached him knowing full well that we weren’t creating a traditional jazz album. I’d already written the songs—I just needed someone who could help me bring them to life, structure them, and give them the sonic identity they deserved. Jazz was always meant to be a foundation, not the destination. Mesh respected that. He listened to my vision and helped me expand it without overtaking it. He was patient, supportive, and most importantly, he understood the emotional and spiritual essence of what I was trying to create. That mutual respect allowed the music to breathe—no pun intended—and I’m deeply grateful for that.

The sequencing of the album flows beautifully. Who handled that, and what was the thinking behind it?
I actually handed that over to a friend of mine in the creative space named Mandla. He’s one of those multi-talented people who just gets it, and I trusted him to arrange the track list. I’d lived with these songs for so long that I felt too close to them. I needed fresh ears—someone who could experience the project the way a first-time listener would. Mandla structured the album to start on a high, dip into vulnerability in the middle, and then rise again at the end. It mirrors the emotional journey of the album and works so well that I’ve used that same order in my live shows. It was probably one of the best decisions I made during this process.

Your album visuals are noticeably different from your earlier work—more minimal and introspective. What influenced that shift?
The visuals reflect where I am in my life. My husband, who is a photographer, shot all the visuals at home in one day. It was spontaneous—I came downstairs, told him I had an idea, and we just made it happen. There was no makeup, no flashy styling—just me, in a doek, being present. That’s where I am right now. My first project had bold, colorful covers, but this time around, I’ve gone through so much personally and emotionally that a more stripped-down aesthetic felt right. The visuals had to reflect the music, which is more mature and grounded. It’s been beautiful to look back and see how my art mirrors my evolution as a person.

The title Breathe holds a lot of weight. What does it mean to you personally?
Breathe is medicine. It’s the place I go when life feels overwhelming—when I feel like I can’t breathe, emotionally or mentally. The music on this album came from that space of suffocation and healing. The title was actually inspired by a conversation with Mesh, who said the word “ikan” carries the same weight as “medicine.” And that’s what I want the album to be: healing. I’m not trying to be preachy or political, but I’m also not shying away from topics like mental health and vulnerability. I want people to feel seen, to know it’s okay to start over, to let go, to take a deep breath. That’s what this album is—a space where we can reconnect with our humanity.

Now that Breathe is out, what’s next for you creatively?
I’ve already started writing again. Touring has re-energized me and opened my eyes to new perspectives. I don’t have a clear direction yet, but I’m inspired. I want to create more visuals for the current album, but it’s hard to choose which song to focus on—audience reception keeps changing my mind! Performance will always be my first love, so I’m definitely continuing to tour. There are still more shows coming, and I’m excited to keep giving people that live experience. Creating, sharing, healing—that’s the cycle I want to stay in.