The rise of Zim Dancehall has been the most significant development on the Zimbabwean musical scene since sungura. Artists from the genre now dominate the airwaves and popular consciousness, but one in particular stands out for his prolific and edgy output. This, of course, is none other than Soul Jah Love; real name Soul Musaka, born 1989.

Soul Jah Love during his interview in Capetown PIC: COURTESY OF YOUTUBE
Soul Jah Love during his interview in Capetown PIC: COURTESY OF YOUTUBE

Musical genres like any other art form muddle along for a period of time until they are infused the spirit of a singular genius whereupon they receive new life and new possibilities are open to other artists coming up in the field. The first such figure in Zim Dancehall was Winky D who, in the early part of this decade, singlehandedly lifted the genre from obscurity into the mainstream, opening the door for the flood of other artists who now practice within the genre. One only has to go to curator Tawanda Kampira’s incredible SoundCloud library to see critical mass has already been exceeded and the genre is in full explosion.

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There are numerous talented artists who have made a name for themselves, like Killer T, Tocky Vibes, Quonfused, Shinsoman, Ras Caleb, Freeman, Kinnah, Lady Squanda, and newer, hungrier artists like Blot and Faceless are emerging. They are produced by the various hit factories Chillspot Records, Givanchy Records, Sunshine Family Studios, with famed producers like T-Man, Kutso, PTK, Fantan, Sam Chris and the transformative power that is Oskid.

What makes Soul Jah Love stand out from an increasingly crowded field is his relentless autobiographical, self-reflective brand of music, the likes of which has not been seen before in the Zimbabwean canon, which tends to prefer narrative style productions. Like no other artist before him, Jah Love has made his own life story into song, diarising and mythologizing himself along the way. His listener has  backstage access to the hard-knock life he had growing up as an orphan with abusive relatives (Ndini Uya Uya), the heart-breaking eulogy to his late mother (Dai Hupenyu Hwaitengwa) his struggles to survive and make it in the genre (Ndiri Kuimba), his relationship with partner Bounty Lisa (Wandipengesa), the numerous beefs he’s had along the way (Ndakamukwapaidza), his home destroyed by the state (Dzimba Idzo Pazai), struggles with diabetes (Sauro Ava Chirema), and up to the minute commentary given his latest issue with Zanu officials at a rally he was performing at (Zvinhu). There can be no doubt that Jah Love’s life as it unfolds is directly transformed into art. It is both fuel and fodder for his compositions. This gives his self-referential music a certain intimacy and urgency, because going through his catalogue one can’t help but relate to his struggle. In what is a quintessential macho genre full of posturing and bravado, Jah Love’s lyrics open him up to a certain masculine vulnerability none of his contemporaries even comes close to attempting. In this, his genius transcends genre and he is a rocket ship blazing through the night sky, he is the Poet of our Time. When this age passes, people will look to his music not just as art but as a historical account of our time.

The resilient Soul Jah Luv in action! PIC: T. CHIMBAKWE | ZIMBOJAM.COM
The resilient Soul Jah Luv in action! PIC: T. CHIMBAKWE | ZIMBOJAM.COM

While Jah Love’s virtuosic skill is beyond doubt, another aspect of his craft less remarked upon is his unusual tonal changes and inflexion mid-song denoting and underpinning the emotional complexion of each piece. A comparable artist in this regard is the American rapper Marshall Mathers, whose tonal changes reflect each of his alter egos Eminem and Slim Shady in his tracks. In this way, Jah Love uses his voice as an instrument expressing the complexities of his music and sometimes even succeeding in confusing the listener’s ear. I confess when I started listening to his music, I couldn’t tell at times whether he was going solo or collaborating in certain songs, until I got used to his range, which continues to expand with each passing year. And his experimentation extends to language too. Jah Love does not have the command of classic Shona that, say, Tocky Vibes has, instead he resorts to slangy linguistic innovations that give a real edge to his music and in turn stretch, bend and invigorate the Shona language itself.

As Soul Jah Love ages, his music matures and evolves. From the angry young man on the way up, swinging, taking pot shots and doing drive-bys of his enemies (real and perceived), now sitting at the very pinnacle of his chosen art form, he has become more introspective, opening himself up to deeper, more intense and meaningful emotional reflections. While he continues to entertain with megahits like the recent Pamamonya Ipapo, an artist has to earn his bread after all, his best music, the music that will form his legacy remains his autobiography and the stories he tells us of himself. This man is a genius and a poet, and our culture today is richer for having him.