What makes a great festival? While the response to this question may differ from individual to individual, the core elements are often music, food, accessible amenities and a great location, with how well curated these elements are separating great events from the never agains. The I Love Mbare Festival's inaugural edition was one that firmly established itself with the former.
The music, the food, the amenities? These were never in doubt and what seemed good on paper, was brought to life with great effect, as conceptualisation met intentional execution. The prices were definitely not giving Mbare but the vibrancy of the atmosphere was good enough to challenge even a passa passa Pashop yaDhama.
The location had given many trepidation, yet how could you be over-conscious of where you were when two Silents excelled at making sound; one with guitar and soul (Nqo), and another with a tongue that danced on the floor of literature (Killer), when Tamy stole from you her last name, and Maphorisa was both Clark Kent and Superman.
If the festival had one major failing, that would be the event's timekeeper clearly being the same guy who told us as a country that "Change is coming" because what was meant to end at midnight, stretched all the way to 3 am. However patience was a virtue the audience had in abundance.
Now if you're a Zimbabwean reading this, you heard Mbare and probably started wondering about the crime? Well there was as good as none. Courtesy of a shuttle system for accessing the secured parking and a visible security presence, the events worst blemish in this regard was one drunk guy falling over the short barricade before the stage.
A grand opening and an inaugural festival, Mbare Grills got the setup just right for the I Love Mbare Festival. The multiple screens showcased performances to the audience at all angles, and the "I Love Mbare" banners that stated the events agenda gave the VIP section and the stage character.
After an opening day that featured ExQ, Gemma Griffiths, Kae Chaps, TAPIWA, Reverb7, Musa Keys and Mörda, the finale arrived with just as many high flying performers.
As the sun kissed the Earth on Monday, Bantu Spaceships took us on a trip across the cosmos with enchanting soundscapes that were both ancient and futuristic. The trio of Serpant, Thando Mlambo and Ulenni Okandlovu was pleasant on the ear, and enchanted a sporadic yet engaged crowd.
The guitar sangoma, Sylent Nqo, delivered wizardry on the guitar strings that was gift wrapped by his distinctive vocals. A performance punctuated by a soulful rendition of his hit song "Huya" and "Denga," his collaboration with Suhn. As he finished off his performance he paid homage to the late Dr Oliver Mtukudzi (one of his mentors) with an enchanting guitar rendition of one of his works.
In an equally amazing feat of dexterity Wowrae gave us an Afro house themed exhibition of percussion that had moments that felt spiritual. Hosho, marimba, and drums met with synth in cohesive soundscapes that were distinctly African.
The I Love Mbare Festival stage was not one for missteps, and on this night it's weakest link was the sound. Something Silent Killer, one of the stars of the night (and our modern day Shakespeare), made note of in his jabs to the sound engineer as he delivered an unforgettable performance of some of the best works in his repertoire: "Locker Mastreets," "Dick," "Zvichitibhowa," "Mulundukwa," "Hurungwere," and "Musha Rudzii."
For what should be the 10th time since the beginning of last year, I once again watched Tamy Moyo perform. Now whether it's the practiced execution of both her singing and choreography, or the fact that every time I see her on stage she has a new song dominating the airwaves, Tamy Moyo never gets boring. This time the caviar was Silent Killer returning to perform "Mamero," a 2024 collaboration between the two.
The Moxinator and MC Tatts were the MCs on the night, and they both understood the assignment. One Gaga, Phenom DJ and DJ Tinnz were on the decks during the intermissions and while the transitions were sometimes as sudden as loadshedding, the track selection was excellent. We even got "Make It Rain" but somehow it felt like we needed to hear it (it could also have just been the alcohol).
Saintfloew, with his gifted band in tow, gave us a performance that set him part, and not just from some (a lot) of his peers in Zim hip hop but Zimbabwean music as a whole. It was a journey through his catalogue that was polished and constantly given the nod of approval by Tinashe Mutarisi in the audience. Nostalgia may have tinted our glasses but his rendition of "Silas Mavende" felt like his best one yet.
Mbare native, Nutty O, was almost as brilliant, as his infectious energy got everyone on their feet. Undoubtedly one of our greatest music talents from the last ten years, he successfully defended home turf. "Chitundumutsere" proved still capable of taking flight and "Handipere Power" remained timeless.
On his toes, Maphorisa dived into an amapiano serenade that only gave us a moment to adjust before we were demanded to sing along. We were 100s on a marionette's cross, moving to the whims of one half of the iconic Scorpion Kings. "Abantwana Bakho," "Asibe Happy," "Abalele," "Nana Thula,"... the selections were expected but it was still beautiful to hear, especially with how they were weaved together in sound.
40 minutes in, Maphorisa disappeared and was replaced by Madumane, for a rap performance that would put many to shame. A medley that featured "Dlala Ka Yona," "Izolo," "Bopha," and "Biri Maraung" was the exclamation point on a memorable night of music.
Mbare Grills' arrival and the birth of a festival we will surely be marking our calendars for. If one hated Mbare before and this experience couldn't change their perception, then they surely have problems that are beyond the power of music.
Greedysouth rating: 7.7/10
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