South Africa boasts a vibrant and diverse musical landscape, with songs that have not only topped local charts but also resonated globally. These tracks often reflect the country's complex history, cultural richness, and the indomitable spirit of its people. Here's a curated list of some of the most well-known South African songs that have left an indelible mark on the music scene.
Have you ever wondered what eVoid would have sounded like if they had pursued a pure punk rather than the ethno-punk sound they chose which ultimately led to them becoming one of the biggest bands in South Africa in the 80’s. Well if you go back to 1979 and an American band called The Knack, you get the starting point of eVoid’s career. Back then, they were calling themselves Void and their first release was a cover of The Knack’s song, ‘My Sharona’. The original by The Knack would go to the top of the US charts and is a fine example of the US punk genre of the time with its edgy guitars and quirky beats, it fitted in well with the sound that bands like The Ramones and to a degree Devo were making at the time.
As the song headed South to the tip of Africa, it lost a bit of the sheen that The Knack’s version had and when it landed in the hands of the Windrich Brothers (accompanied by Danny de Wet who would later work as part of Wonderboom), they made it a kind of mix between US punk and UK punk with a raw and ready sound that maintained the spirit of the original but also stamped Void’s sound on it. After this, the band added an ‘e’ to the name and took that punky sound and South Africanised it to brilliant effect. One can well believe that, had they not introduced the ethnic sounds to their music, then the band would have faded away into obscurity as the kind of music they made on ‘My Sharona’ did not equate into sales and gigs in stadiums.
I think we are all grateful that the band progressed from that early punk start and would go on to bring us classics like ‘Shadows’ and ‘Taximan’, but what they did back then, one could already sense the talent in the band just waiting to burst out. Personally I would have loved to have a few more of those early punky tracks to hear from the boys as they did that sound as well as anybody else back then.
Songs That Define South Africa
Here are some of the most iconic South African songs, showcasing the country's diverse musical talent and cultural influences:
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1. Brenda Fassie - Vulindlela (1997)
Only one particular song could open the floor, get us underway, lay the foundation. It's this classic from MaBrrr - the queen of pop music, the Madonna of the Townships. Brenda Fassie transcends Soweto to Africa and beyond. The song is about making way for the groom (and bride) at their wedding. According to multiple sources, in 1997, South Africa was emerging from the racist apartheid system, and was celebrating its own “wedding” across the colour bar after democratic elections in 1994. Brenda Fassie has so many popular songs, including Black President about Nelson Mandela.
2. Lucky Dube - Different Colours, Different People (1993)
Lucky Dube is arguably the most popular reggae African musician who sang in English, while sending flowers to Alpha Blondy of Cote D'Ivoire. He is on a huge pedestal following Bob Marley and co. This song was popular for several reasons - political, diversity, the music video, the melodies, etc.
3. Yvonne Chaka Chaka - Umqombothi (1987)
I grew up on this song in Kumasi, Ghana. I was not of beer drinking age, and I was not trying to drink beer. African beer can booze you o, don't play! But I promise you, I was not butchering the lyrics like many others. This is an African classic, sang in different ways in different countries. Please, learn the lyrics. The song celebrates the joy of making and sharing African beer, symbolizing happiness and togetherness within the community. I first met Yvonne in Cape Town (alongside another songbird - Lira) at the World Economic Forum Meeting - Africa. Yvonne Chaka Chaka is an absolute legend who has done very well post her music career too. This Princess of Africa has such a great voice. I maintain that South Africa has the highest capita of best singers in the world.
4. Mafikizolo - Khona (2013)
There was a period when Nigerian music was ruling the continent, with good reason. And then from one corner, this Mzansi magical mix from this duo appeared on the scene. It was flat out the best African song of 2013. Every African city I visited was jamming to this Mafikizolo track. This song brings so many memories. Khona, Khona, Khona!
5. Master KG - Jerusalema (2020)
Years before this song came out, there was a very popular and great South African movie of the same name. I blogged about it 3 different times. It was a heavy movie, which is the opposite of this track by Kgaogelo Moagi. This song makes me tear up, just thinking about far it has travelled, the amount of happiness it has brought to people everywhere, its dance craze and routine which brings people together and its standing globally. Some may say Covid-19 helped its popularity, like it is the fault of Nomcebo Zikode, Burna Boy and co. It burned through boyish boroughs and cemented itself as one of the most popular songs ever made. Its Zulu lyrics translate to "Jerusalem is my home, take me with you, guide me, don't leave me here."
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6. TKZee - Shibobo (1998)
Thinking about this song makes me think about High I go by Kabelo. This is a huge plea. I need the mp3 for this song. At this point, I am willing to pay for it. If I knew I would suffer this much, I would have befriended Mr Mabalane more when I met him in Johannesburg. Okay, now, let's take the alphabet again. Shibobo is arguably the most popular South African kwaito ever. Tokollo Tshabalala, Kabelo Mabalane, and Zwai Bala featured Benni McCarthy on the song, which became an anthem after South Africa's qualification for the FIFA World Cup in 1998. It is a celebration of the country's achievement and includes lyrics referencing McCarthy and his football skills.
7. Hugh Masekela - Stimela (1974)
This song is extremely popular but also very important. The 'Coal Train' song was composed while Hugh was in exile, an ode to South African mineworkers. The song talks about the migrant labor system in Mzansi, where miners were separated from their families working in Johannesburg under grueling conditions. Hustling. Exile. I have met Hugh Masekela a couple of times and saw him perform in Accra as well as San Francisco.
8. Miriam Makeba - Pata Pata (1967)
Miriam Makeba is the queen of African music. She is popular for her cover of Fadhili Williams' Malaika. Her "Pata Pata" reached number 12 on the Billboard Hot 100 chart in 1967. Now, that is very significant and groundbreaking! You need to click to learn about this. It would help you learn how to click better. Gerrit? Then fuggedabadit. A Google Doodle was once made in her honour. This song has been covered by other musical mistresses like Angeliquie Kidjo, Coumba Gawlo, etc.
9. Brenda Fassie - Weekend Special (1983)
I think Brenda Fassie deserves 2 songs in this list, she is the pop queen after all. Billboard Hot R&B/Hip-Hop Singles & Tracks chart. The album "Weekend Special" also continues to sell well as a collector's item according to Wikipedia. If you tend to look forward to weekends a lot, especially for lovemaking purposes, here is a dedication for you. I do.
10. Ladysmith Black Mambazo - Homeless (1986)
Yes, one of the the award winning Grammy group from South Africa. They actually have 5 Grammys. You read that right. I saw them perform once in Stanford. This is a testament to their popularity globally.
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11. Tyla - Water (2024)
Don't act surprised. When I first saw Tyla's music video for Getting Late, I also thought she was American. It seems I didn't know as much about Amapiano then. I am really sad this song didn't become the #1 song in America on the Billboard Hot 100 peaking at 7. The queen of Popiano herself. Watch out for Tyla Laura Seethal, she has only started. She has pushed to start. It's gonna be bliss.
Many thanks to friends like who contributed to this - Tumi Diseko, Tsholo Wechoemang, Thembela Vokwana, Kojo Baffoe, Michelle Amanda Mvinjelwa, Thulani Fakude, Mbali Petunia Mphande, and Nzinga Quinta. Have more #MusicWeDeyFeel to contribute?
Miriam Makeba: The legendary South African singer who spread the message of equality and peace
Other Notable South African Songs
Besides the highlighted tracks, numerous other songs have contributed to South Africa's rich musical tapestry. Here are a few more:
- Liquideep: Fairytale (2010)
- Just Ginger: Father and Father (1997)
- éVOID: Shadows (1983)
- Clout: Substitute (1978)
- Pat Shange: Sweet Mama (1985)
- Margret Singana: Mama Tembu’s Wedding (1975)
- Mercy Pakela: Ayashisa Amateki (1988)
The appeal of The Click Song is the way the singer can incorporate the Xhosa language clicks into the words, right? Well Amampondo would beg to differ as they take on this classic without vocals. In fact all they have is a variety of marimbas and percussive instruments which they use to good effect to create an instrumental of the song. And the result is a bouncy, joyful track.
There is something about the pop-corny sound of the instruments that make a perfect substitute for the clicking tongues required to do the vocals. The song moves along at pace with the mallets used to play the marimbas dancing manically across the keys at lightning speed. The tune is carried by a higher register marimba while the bass jumps around with thudding notes in support.
And what this does is draw out the joy of tune. Where in vocal versions, the tune plays second fiddle to the clicks, here it is the tune that is out there in all it raw naked glory and you realise just what a glorious tune it is. It is catchy, upbeat and brimming with energy. It’ll have you dancing away in no time.
The video link below notes the track as ‘Qongqothwane (The Cockroach-Click Song)’. I am not quite sure where the cockroach comes into this unless it is a kind of cricket rather than cockroach as the clicking is so fast and furiously done with the marimba that it could be emulating the click of a cricket although even that’s a stretch.
I first heard this version of the song on a compilation album called ‘Hi-Jivin’ and I loved almost from the very first note.
Despite having a loyal following in South Africa, Afrikaans music did not feature much on the old Springbok Top 20 with only 40 Afrikaans hits coming between June 1965 (when the charts started) and February 1989 (when the charts stopped). And this includes songs which had a mix of English and Afrikaans lyrics as well as instrumental hits with Afrikaans titles.
Based on a points system, Laurika Rauch’s ‘Kinders Van Die Wind’ would be the 7th most successful of these 40 hits, getting to number 3 during a 13 week run on the charts. Its success was, perhaps, helped by its use in the TV show ‘Phoenix en Kie’ which starred Marius Weyers, Reghardt van den Bergh and Trudie Taljaard. It was probably also aided by the fact that the song was written by Koos du Plessis, one of the foremost songwriters of Afrikaans songs around that time.
Its popularity was further helped by a strong instrumental base and big production which set it a little apart from the saccharine sweet Afrikaans music which was prominent at the time. It would have won over a few English supporters, with this sound. Also in its favour was the strong vocal from Laurika which, like the music of the track, was not from the same sweet factory as a lot of the other popular Afrikaans female vocalists of the time. Laurika’s alto voice is rich as swings in time to the track which has a tidal rhythm to it. And the lush string arrangements wrap themselves around this vocal to create a great pop tune which still holds its own these days.
‘Kinders Van Die Wind’ was not the only local TV show and film theme to do well. Lloyd Ross’ instrumental theme to ‘Vyfster’, Lance James’ ‘Vicki’ (from the film of the same name) and Herman Holtzhausen’s theme from the TV show ‘Trans-Karoo’ were all Springbok charting hits. ‘Kinders Van Die Wind’ is probably the one which has spawned more covers than any others. It is worth giving Koos du Plessis’ original a listen with his gruff vocal sitting alongside a gentle piano. But was it that version or Laurika’s that inspired the covers? Who can say.
One of our early introductions to The Helicopters was ‘Mysteries And Jealousies’. The band hailed from Vereeniging and along with Face to Face and Petit Cheval were among the leading lights of the local New Romantic scene in the early 80’s. Before they had been signed by Benjy Mudie, who was the A&R man for the South African branch of WEA Records at the time, they released a single called ‘Flying High’ which did nothing.
After signing for WEA, they released the catchy ‘Mysteries And Jealousies’ which would immediately get airplay and would reach number 7 on the Radio 702 charts and number 10 on the Capital 604 ones. The song has a swirling rhythm to it goes round and round ‘in my m-i-i-i-i-nd’ to use a phrase from the lyrics. The band combined guitars and synthesizers along with electronic drums to create a memorable pop song for the times (1983 to be precise). The band also had the looks, sporting big ‘new wave’ hair and a dash of make up as they emulated UK pop stars such as Duran Duran, Tears for Fears and Kajagoogoo.
In fact there is more than a hint of Tears for Fears in the vocals with front man, Bernard Binns’ slightly husky voice sounding like it had been nicked from the sessions from ‘The Hurting’ (Tears For Fears’ debut album in case you’re wondering). But the voice combines perfectly with the new wave instrumentation which is a cross between Spandau Ballet and Tears for Fears (in my m-i-i-i-i-i-nd).
Arguably ‘Mysteries And Jealousies’ was one of the best local tracks of the genre, coming in alongside Petit Cheval’s ‘Magical Touch’ and Face to Face’s ballad, ‘Here We Are’ (and not forgetting the lost gem of Visiting Cousins’s ‘When You’re Young’). Yes, the genre was very short lived and is fast becoming only a short chapter in the every growing biography of popular music, but the hits from those few years in the early 80’s certainly have stayed with those of us who grew up in that time and they still reach a new audience every so often.
‘I Need A Little Love’ would give Robert John ‘Mutt’ Lange his first Springbok Top 20 hit as a songwriter. We had seen his name on earlier hits, but as a producer rather than songwriter. The track, which entered the charts on 19 April 1974, would be Petersen’s 2nd hit and would prove to be his most successful. It would peak at number 5, a position his later hit, ‘Private Number’, would also attain, but ‘I Need A Little Love’ would spend 13 weeks on the charts while ‘Private Number’ would only manage 11.
The song starts off with a reggae lilting beat which gives way to a soulful pop tune with Petersen’s vocals bordering on falsetto. The chorus brings in an organ sound which makes the track sound a little like a Flames one from a few years earlier. And the production is a foretaste of what Lange was capable of as it is tight and inventive (for the time). Lange would go on to produce massive international acts such as Foreigner, AC/DC and Def Leppard.
The song was a well-deserved hit for Petersen, being a catchy pop tune that brings enough rock elements to not make it too sugary and just not enough to move it into full on rock territory. However, there is a little warning that goes with the little love that Petersen was after. The lilting reggae intro to the track does put on in mind of Anneline Kriel’s ‘He Took Off My Romeos’ which is possibly one of the worst South African songs ever made.
Mavusana was born Vusimuzi Ngwenya while Mizchif was born Hechichamunorwa Mount Zion Kwenda. Mavusana had been in the Kwaito group Oda Meesta while Mizchif was a Zimbabwean who made his way to South Africa via New York. ‘Summertime’ was probably the biggest hit for both artists.
The song, which was apparently written by fellow kwaito artist, Mapaputsi, is a funky kwaito track with a chorus that is catchier than a guy on a Durban beach with a net during the sardine run. It exudes more brightness and breeziness than a Highveld summer day around the pool. The beat is infectious and has the danceable rhythm of any good kwaito track. A funky guitar gives the song a 70’s disco flavour while the cheeky chant of ‘na na nana’ ricochets around your brain as Mavusana (I think) delivers the requisite gruff voiced kwaito rap style vocals. However, it is the female vocal that floats in on the chorus that steals the show, singing the catchy line ‘It’s summertime, yeah yeah’ over and over.
There is an almost childlike innocence to the vocal and this cements the feel of excitement and expresses the joy one feels when the cloak of winter has been shed, the sun is out, the cover is off the pool, the braai is smelling lekker, the Castles are cold and life is kiff again.
Sadly, both Mavusana and Mizchif would die young, the former aged 46 while the latter left us when was just 38.
This one dates back to 1972 and was by a band that won the Cape Town battle of the bands in 1967. The band consisted of Michael Amann on drums and vocals, Jock De Coito lead guitar, Reggie Edwards bass and vocals and Peter Hunt keyboards and vocals. They had released 2 singles (from what I have been able to ascertain) before ‘In The Park’, those being 1968’s ‘Toyland’ and ‘Long Expired One And Twenty’ that same year.
‘In The Park’ sounds like a mix between 60’s garage rock and an 80’s indie song (which was remarkable as 80’s indie hadn’t yet been invented’). It features a prominent organ sound which adds a kind of psychedelic tinge to it but the staccato playing of the keyboard also lends a reggae flavour to the track. The 80’s indie sound comes from the vocals which are plaintive and veering towards being off key.
The result is a happy-go-lucky little tune that would never set the world alight, but which makes one feel good about life. It bounces along at pace on a toe-tapping beat making it a solid pop tune which deservedly gave it a Springbok Top 20 placing. But true to its rough and ready feel, it was not a smash hit, rather spending just 1 week on the charts at number 20.
Before he became Des from Des & Dawn, Des Lindberg had a very successful solo career. One of his early successes was with his ‘cover’ of ‘Big Rock Candy Mountain’. The word ‘cover’ is in inverted commas as it is not a straight interpretation of the song. There are a number of different lyrics that have been used in various versions of ‘Big Rock Candy Mountain’ which have been recorded since it was first done in 1928 and Des uses some of these, particularly the well known chorus of ‘Oh the buzzing of the bees/and the lemonade trees’ etc etc.
But after a verse and chorus in English, Des switches to Afrikaans lyrics which bring the song into a South African context. There are images of farm life and wild life that are particular to our part of the world. These are presented to us with Des’ naughty sense of humour and the live audience who were present when the single was recorded, enjoy this immensely. When he sings likes about the place ‘waar die springbokke spring en blesbokke bles’ there are loud eruptions of laughter.
And even more so when his cheeky humour comes through and sings ‘waar die akkedisse akk en die kakalakker lak’ leading the audience to believe he was going to be rude and then veers away at the last moment to sing something else. He then chides the audience for laughing by emitting a disgusted ‘Sies!’ while having his tongue firmly in his cheek.
The song hit the right notes with South Africa in 1966 and would sit at number 1 on the Springbok to 20 for 3 weeks, going on to be the 5th most successful Afrikaans song on those charts. He would follow it up with a straight folk cover of ‘Ramblin’ Boy’ which would peak at 2, Soon after this he would team up with Dawn Silver (later she would become his wife) and would hit number 4 with their classic cover of ‘The Seagull’s Name Was Nelson’.
‘Die Gezoem Van Die Bye’ was not the only time he would use well known songs and give them a South African twist as was evidence in ‘This Land Is Your Land’, a Des & Dawn song featured a little while back on this list.
This is the 3rd track from The Cherry Faced Lurchers’ ‘Live At Jamesons’ album to appear of this list (the other 2 being ‘Shot Down In The Streets’ and ‘Toasted Take Aways’). Like the other 2 on the list, the song is not here because of great musicianship or amazing vocals in the traditional sense of the word, but rather because of its rough and ready originality. There really was nothing like this around in South Africa in 1985 when the band had a residency at the now famous Jamesons nightclub.
Despite the roughness of the music, there is a tightness about the band. They are completely in tune with each other as they obey the title of the track and lurch around the stage. It can’t have been easy getting the timing right with the way the sound seems to stagger around the place, yet James Phillips, Lee Edwards and Richard Frost, the trio making up the band, are in complete control of their lurching. And even though Phillips on vocals sounds as if he has imbibed a fair few Castle Lagers, there is also a sense of him still being in complete control.
As the album title suggest, the track was recorded live and this also adds to the rawness of the sound, but one can almost hear the sweat dripping off the audience as they weave and sway in time to the Lurchers drunken sophistication. The lyrics are about a night out at Q’s Supper Club, an upmarket disco in Joburg’s Market street. The club was arguably South Africa’s answer to New York’s infamous Studio 54. The words of the song tell the...
Top 10 South African Songs According to Google Gemini
Here are top 10 South African songs according to Google Gemini.
| Rank | Song Title | Artist | Year |
|---|---|---|---|
| 1 | Vulindlela | Brenda Fassie | 1997 |
| 2 | Different Colours, Different People | Lucky Dube | 1993 |
| 3 | Umqombothi | Yvonne Chaka Chaka | 1987 |
| 4 | Khona | Mafikizolo | 2013 |
| 5 | Jerusalema | Master KG | 2020 |
| 6 | Shibobo | TKZee | 1998 |
| 7 | Stimela | Hugh Masekela | 1974 |
| 8 | Pata Pata | Miriam Makeba | 1967 |
| 9 | Weekend Special | Brenda Fassie | 1983 |
| 10 | Homeless | Ladysmith Black Mambazo | 1986 |
