A unique Sesotho sound

MASERU -A SINGER, rap producer and songwriter dedicated to promoting an indigenous approach to music, Senei ‘Sneiman’ Makhalanyane, is one of the few musicians who have stood the test of time in Lesotho.

Boasting a thriving musical career, most of Makhalanyane’s songs are uplifting and are oriented to present a glimmer of hope to members of communities from diverse backgrounds and age groups.

He has been part of the Tšepe Movement, which infuses rap with Sesotho traditions of song and modern Afro sounds.

“Ideologically, the Tšepe Movement is about African unity and instilling a revolutionary mind-set away from the neo-colonial thought and neo-imperialism,” he said.

His journey can be traced back from his high school days when he began his journey in the music industry.

“I have been writing music since high school but I started doing music professionally when I joined the Tšepe Sethuamajoe Art Movement in 2013,” Makhalanyane said.

“That’s when I took some time to work on my music.”

Sneiman said he has encountered many changes as music production and consumption evolves over time.

“The past years have brought about drastic changes in the way music is made and distributed.

“The Internet has played a crucial role in how music is consumed around the world, which in turn affected how musicians and artistes are compensated,” he said.

“For a long time, musicians relied heavily on traditional record labels, which made production and distribution of music completely dependent on labels,” he added.

“The label was the beginning and the end of the artiste’s career: deciding everything from marketing budgets to video productions and tour dates, but all have changed as artistes are able to work independently.

“With the advancement of technology an artiste can pop up from nowhere.”

He acknowledges and hails the contribution of artificial intelligence embodied in gadgets that enables both music producers and consumers to holistically enjoy their stake in music.

He said mobile phones also shifted the power dynamics as they became more popular and brought about the growth of music streaming sites.

“Consumers nowadays have access to music content and physical record stores are no longer relevant,” he said.

The growth of social media also played an important role by suddenly opening the floodgates and things became simple to both musicians and listeners, he said.

For Makhalanyane, passion for one’s craft is crucial and breakthrough becomes inevitable.

“I can’t say there is a perfect marketing tool for a musician. We all have our own tools, although some of them might be similar. In music we learn every day through trial and error.”

The majority of musicians in the country usually take time before they reach their prime and this sometimes forces them to give up along the way.

“We don’t have a music industry in Lesotho to be realistic, so we depend on a foreign industry which has its own gatekeepers, standards and rules so as a foreigner it’s not easy to break through,” he said.

Makhalanyane complained that local radio stations, including state owned media, and promoters give preference to foreign artistes.

“We fail to create our own superstars simply because we don’t believe in our own talent. Indigenous African languages seem to have lost favour due to the influence of international languages,” he said.

“Most people believe that since English is an international language, if you use English you might have a broader audience than one who uses Sesotho,” he said. “Reality is that music is a universal language, if you produce good music people will listen regardless of the language you use.”

Makhalanyane expressed the need for the government and all stakeholders to give preference to domestic arts.

“Our government should formulate policies which will limit the importation of foreign content in the entertainment industry. People should be encouraged to buy and support local content even if it might appear to be of low standard, it will improve with time.”

“Remember South Africa started with Lesilo, Bophelo ke Semphego; Nigeria gave us Mr Ibo, Osofia for they had their national pride.”

He advocated for laws that force radio stations and public places such as restaurants, hotels and clubs to pay for the content they use and to source that content locally.

Different artistes are known for their antics that ultimately culminate in being their brand.

For Makhalanyane, his unique dress code is his milestone trademark.

“Hundred percent ‘semate’! I love my Brentwood pants and shiny expensive leather shoes,” he said with a smile.

“I represent the culture of early Southern African mine workers (maweekente), a culture that developed the popular traditional Sesotho music known as Famo and the modern Sesotho and fashion sense,” he said.

“If one watches my 2018 music video, ‘Shoeshine le manothi’, and ‘Sesotho sa morao-rao’, I articulate the modern Sesotho culture wear which is more popular in Southern Africa.”

So far in his music career, Makhalanyane has produced fantastic music with renowned musicians.

Releasing his first solo album, which features top local and international artistes such as Kommanda Obbs, Big Zulu, ’Mapule, Miss P, Towde-Mac wa Murafe and Mosito Sentšo to name a few, was one of the highlights of his music career.

“I believe it is an album ahead of its time.”
Normally artistes love to follow trends such as Niger beats, Trap beats, boombap beats, kwaito beats, piano beats.

“I believe there is nothing wrong with that.”

But with the Maweekente album, Sneiman decided to change things.

“I wanted at least 80 percent of the album to be made of a new sound,” he said, adding: “I decided to be myself and set my own trend by infusing the elements of the music I grew up listening to, that is, Famo, Hip hop, Afro Jazz and kwaito and I managed to do that successfully.”

“Every time I listen to that album I always say to myself, I am proudly a Mosotho, motho le semate, the real Sneiman and I love it. I am in my own lane, there is no traffic,” he said.

At present, Sneiman is working to drop a single and also collaborating with other musicians to produce more music.

He is working on a music video for his next single.

“The song is called ‘Puleng’ and it is fire,” he exclaimed.

His ambition is to contribute to the “holistic growth” of Lesotho’s music identity, which involves making Basotho heritage part of music production.

“I just want our country to have its unique sound. Our listeners think we are there yet but we are not yet there.

“We are still using Niger beats, trap beats, Maskandi beats and so on as if we Basotho do not have our own sound, our own bounce.

“I will never stop until I see that happen. That’s what I am working on for my next project.”

Makhalanyane said he has already assembled a team of producers and one executive producer “and we will be making history together”.

From the wide collection of the songs he has produced so far, there is one song that stands out to him: ‘Puleng’.

“It totally embraces Bosotho elements,” said Makhalanyane, pointing out that it is not easy for talented artistes to break through as production of music is expensive.

“Music production is costly, especially when you are looking for quality.

“You have to pay for a beat, studio time mastering, mixing and for video production.

“It takes time to raise money to pay for such costs, particularly for independent artistes,” he said.

Besides the primary challenge of producing music, musicians are also faced with the hurdle to reap from their labour owing to exploitation.

“The most unfortunate part is that after such hustles, our songs are used for free in the name of promotion.”

Most of the artistes, he said, get paid peanuts “and you won’t complain because they will tell one that the platform they gave you was enough. They say the platform gives you limelight and an opportunity to rub shoulders with the best musicians.”

Calvin Motekase