Mashoko Tapes Vol.1 is the debut compilation of Shoko Festival, Zimbabwe's longest running urban festival. It comes on the back of a resurgent year for the event, and it feels like something that's long overdue, but as they say better late than never. The project is a celebration of the most recent edition of Shoko Festival and the artist's that performed there.
The theme "Both Sides Of Samora," which was Shoko 2024's statement of unity across the class divide, is key to the first volume of Mashoko Tapes. It brings together artists from the North and South of Samora Machel, the road that has been typically used to split the city of Harare into the haves and the have nots.
The compilation is eclectic in sound, offering a sonic representation of the diversity of the artists featured on it. It is a meeting of hip hop and vocalists, with the glue that binds it together being stories we see in our everyday lives. The artists featured on it include: Dough Major, Dingo Duke, Rutendo Jackie, Bhekiwe, RayKaz, Paintafresco, and Lalla Martin, with Morset and Dennis Shoko lending their voices for the interludes.
Curated by Zuu, the album has production from Jairos Hambahamba, Zviro Beast, Corny 3D Keys, and Daystar Mellow. It meanders in influences from Shebeen Rap, to amapiano, Afro pop and reggae. Defining itself as "Common Ground," it doesn't necessarily take on classism but rather the artists simply tell their stories as best as they can, and then you sift through the details to find all things that unite us. Our experiences.
"Gogoi" kicks off the album, and it is a melancholy driven intro that strikes a mellow chord. Named after the Shona expression for asking to enter someone's home, the track is centred on the subject of acceptance, or rather the lack of it. This is captured in lyrics like, "Vamwe vachikanda round imi muri kukanda nyoka mhenyu." There's raw emotion in Dough Major's verse, which perfectly cushionbu the soft vocals on the hook.
The song is a meeting of hip hop and pop, with something in it's melodies feeling richly influenced by traditional Zimbabwean rhythms.
"Tales Of The Streets" feels like a true bridging of Samora's divide, with RayKaz and Dough Major collaboration. Rappers characterised as being from the North and South respectively. A meeting of the North and Shebeenia to be specific. Heartfelt lyricism of the struggles of Zimbabwean life, juxtaposed by braggadocio.
There's a constant double sided nature to Mashoko Tapes. "Sam naMichelle" is an Afropop leaning duet that's centred on a couple from different sides of the tracks that have Samora as the meeting point. Brilliantly performed by Bhekiwe and RayKaz. "Chirere," which gets it's name from the Shona proverb "Chirere chigokurerawo," speaks to the importance of societal contracts and paying it forward. It tells the youth to be appreciative of what they, while also simultaneously telling them older generations to invest in the youth.
"Simunye" titled after the Ndebele expression for "We are one," could've easily been the title song. "No one can take away the things we have in common," is it's principal message and it is delivered with poignancy by Lalla Martin.
"$ampe" takes on the subject of escapism and substance abuse with a humorous air. It tells the story of of an unnamed subject who needs just a dollar to get their favourite substance. An addict who's constantly asking for money to afford their favourite substance/s, is a common sight around Zimbabwe, although the figure an addict asks for across Samora's divide differs. The common ground here is the substance abuse. Delivered with a effortless cadence, Dingo Duke's verse stands out as one of the best things about this track.
"Wabvepi" samples the popular gospel song "Satan Wajaira" and it is a song for those who try to bring you down: "Why they curse me? Inini ndichishanda nesimba kudai." Again those who doubt us and try to bring us down is another shared phenomenon.
While the music is certainly reflective of what is shared across the class divide, what completes the storytelling on this project are Morset Billie's interlude "Kakomo" and Dennis Shoko's closing monologue "Chinhu Chenyu."
"Kakomo (Interlude)" sees Morset Billie reflecting on the cosmopolitan nature of Harare and how Mashoko Tapes is a mirror reflection of this. As you carry on going through this album you see what Billie says to be true. There isn't a sound or style the album sticks to, and that feels like just what was needed for the stories the project tells.
Dennis Shoko's summation is an introspective conversation on our desire to belong. He ties into this how although we still have more in common with someone on our side of the tracks, our shared experiences as Zimbabweans supercede whatever tribe, group or social class we identify with. Socioeconomic issues like unemployment and failing infrastructure are shared across the board.
Are there more experiences that Zimbabweans face across the class divide that are similar and also those that are different? Yes, but seven artists can only capture so much storytelling from their lived experiences. The gaps that Mashoko Tapes leaves, feel like they're meant to be filled by your own story or stories. The album certainly finds it's fair share of common ground, and as this it what it set out to do in the first place, you can't help but give it high marks for execution.
Greedysouth rating: 7.4/10
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