Simphiwe dana dating
Dana’s versatile voice recalls not only that to which she is most often compared, Miriam Makeba, but also a host of others – Lauryn Hill, Erykah Badu (“Mayine”), Bjork (“Ingoma ka Maiane”), Cat Power, even Inge Beckmann. Few local musicians, with the exception of 70s era Hugh Masekela, have had the balls to explore the complex grooves of Afrobeat.
Comparisons in this case are largely futile, however. Dana pays tribute to one of her heroes, and arguably Africa’s greatest musical force, Fela Anikulapo Kuti – but instead of being content to merely imitate, she manages to mould the sound to suit her own ends.
While most singers would be content to resort to drum machines and studio gimmicks, Dana’s talent as a songwriter, producer and designer have seen her maintain tight control over her work.
On Kulture Noir she makes use of an array of top session musos, drawing on the expertise of three different producers: her usual right hand man Thapelo Khomo (from Stimela), as well as Mozambiquan Moreira Chonguica and Nigerian “Afro-Juju” guitarist Kunle Ayo.
With her regal sense of style, genre-defying music and steady refusal to bow to trends, Simphiwe Dana has balanced sales, SAMAs and street cred to rise above her many contemporaries in a relatively short space of time.
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Grammy-winning American producer Gordon “Commissioner” Williams and DJ Awadi from Senegalese hip hop outfit Positive Black Soul were also roped in.
Despite this variety of influences, the album retains a sense of cohesion, albeit one that bares little semblance to anything else you might have heard before.
“All my children are dependent on me, especially those at tertiary level,” he said.
He added: “I don’t think denying me bail would do justice to my children.” However, the charges against them were provisionally withdrawn.