"Gender chii?" - a tag line that was once upon a time a question requiring a definition has become a proclamation of the power of women. The answer to that question has simply become "ifemero" - gender is female. This is the power of Nisha Ts' artistry; painting a sonic landscape of genre bending hits that have a core make up of Zimdancehall, the singer is on a path to redefine how women are perceived.
This is the driving force behind her debut album Gender iiH (Woman King), a cauldron of Afrodancehall that seasons the sound born in Jamaica with West African influences and a lot of Zimbabwe's traditional sounds. The 12 track project is an ode to women that also tells Nisha Ts' story. The tale of a Chegutu raised young woman who's perseverance has landed her on Zimbabwe's biggest stages.
Arriving on the scene in 2022 with tracks like "Draw Punchline," "Kanjani’," and "Sadza Rapera," Nisha Ts has delivered a dancehall sound littered with pop sensibilities that's unique to her. This particular soundscape and a storytelling ability that's reflective yet sprinkled with comic relief, was the propellant behind her breakout moment "Kutsamwa Kune Labour," and "Admire Kadembo," her biggest release yet.
On the back of this growing success and artistic acceptance, Gender iiH (Woman King) arrives buoyant with emotion and rhythm. While seeped in influences of the past, it has a youthful exuberance that places it very much in the moment. "Maidei" has the pulsating drums of Jiti, "Handisati Ndakuenda" is soca infused with System Tazvida's distinctive guitar, and "Nhamo" has the rich intonation of sungura.
In isolation Gender iiH (Woman King) is just a well executed ode to the past that adds to the vast soundscape Zimbabwe has created while making dancehall it's own. In the frame of the current nature of Zimbabwean popular music, it is part of renaissance of past sounds that has been embraced by names such as Holy Ten, ExQ, Kae Chaps and Saintfloew.
The album is introduced by "Pangu Pangu," the beating of the Zimbabwean drum, Nisha's story. From humble beginnings in Chegutu, to signing with Tinashe Mutarisi's stable and becoming a household name: "Ziva Tinashe ndo, akazoti Nisha hausi bho, huya tifayise madigong, ndikatenda Mwari anodzinga madhimoni." This intro sets the tone, in both rhythm and storytelling for everything that comes after.
"Maidei" is the poignant tale about the abuse of women, "Mabhonzo" narrates a tale of ill treatment at the hands of a step parent and "Gender Iyi" is a challenge to gender roles that speaks to the limitless possibilities of what women can be. Gender iiH sees Nisha Ts harnessing music as a tool for change. Above and beyond being a voice for women, the singer laments the cruelty of poverty on "Nhamo" alongside sungura legend Alick Macheso, and speaks to mental health on "Body," an anthem dedicated to the silent battles we face but never show.
Offsetting these emotionally heavy themes is a slew of dance floor ready anthems that include "Single," "Pullo," "Usadhakwe," and the love song "Zvakadaro." Gender iiH offers a listening experience that is balanced, without diluting the album's main intention. For the most part the album's production is done brilliantly, yet the listening experience is spoiled by the enginneer's laziness in removing the 10 seconds of silence that characterise the ending of most of the tracks (We're all collectively looking at you Jamal). Good music certainly deserves better.
However, it's minor drawbacks aside, Nisha Ts' debut album is intrinsically dancehall and dancehall done well. A perfect encapsulation of the artist's mission statement as an artist:
"My goal is to break into the African market and reshape perceptions about women. In each of my songs, I aim to encourage women to take pride in who they are." - Nisha Ts in an interview with the Herald, 2024
Greedysouth rating: 8/10
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