Samthing Soweto
Samkelo Lelethu Mdolomba (born 21 January 1988), known professionally as Samthing Soweto, is a South African singer and songwriter renowned for his emotive fusion of afro-soul, jazz, R&B, and amapiano.[1][2] Born in Protea North, Soweto, Johannesburg, he rose to prominence as a founding member of the a cappella group The Soil, contributing vocals to their multi-platinum self-titled debut album in 2011.[3][2] After departing the group in 2013, he launched a solo career marked by genre-defying releases, chart-topping collaborations, and multiple awards, establishing him as a leading figure in contemporary South African music.[3][2] Soweto's musical journey began in his youth, singing from the age of six and honing his skills during high school with The Soil alongside members Buhle, Ntsika, and Phindo.[2] The group's harmonious sound and cultural resonance propelled them to national acclaim, but Soweto sought broader expression, leaving to front the nu jazz outfit The Fridge and explore solo ventures.[3] Early independent works included the EP This n That, a tribute to Miriam Makeba featuring the track "Peace N Lovely Things," and the 2014 EP Eb'suku, which showcased his poetic storytelling and earned performances at festivals like Rocking the Daisies.[3] His appearance on Coke Studio South Africa in 2015 further highlighted his versatile vocal style blending traditional and modern elements.[3] Soweto's solo breakthrough arrived in 2017 with the single "Akanamali," a collaboration with producer Sun-El Musician that became a massive hit, winning Best Collaboration at the 24th South African Music Awards (SAMAs), along with SAMPRA and SAMRO awards for highest airplay.[2] This success paved the way for his debut studio album, Isiphithiphithi (2019), which debuted at No. 1 on Apple Music South Africa and secured the Best Afro-Pop Album at the SAMAs.[2] Follow-up projects like the EP Danko! (2020), featuring the single "Akulaleki," continued his momentum with introspective lyrics and amapiano influences.[2] In 2025, he released his second studio album, Touch Is a Move (Good Morning), a 17-track collection under his Youbuntu label that includes a feature with rapper Blxckie and emphasizes emotional depth amid personal growth.[4]Early life and background
Upbringing in Soweto
Samkelo Lelethu Mdolomba, professionally known as Samthing Soweto, was born on January 21, 1988, in Protea North, a township in Soweto, Johannesburg, South Africa.[1] He grew up as the third of four children in a single-parent household led by his mother, with his father absent from his life, which contributed to a sense of familial instability. At age five, he briefly lived with his grandmother in the Eastern Cape for a year but returned to Soweto due to severe homesickness that caused significant weight loss.[5] Soweto's vibrant cultural landscape profoundly influenced his early years, immersing him in the sounds of traditional Maskandi music and soulful gospel hymns that echoed through the community.[2] However, the township's socio-economic hardships, including widespread poverty, shaped a challenging environment marked by limited opportunities and daily struggles for survival.[6] His mother's undiagnosed bipolar disorder added further strain, transforming her from a family pillar into a source of emotional turmoil that rippled through the household and exacerbated their difficulties.[7] As a teenager, Mdolomba faced personal turmoil, including drug addiction to substances like mandrax and involvement in crime, such as armed robbery, which led to his arrest and over two months in juvenile detention.[5][6] These experiences, rooted in poverty and desperation, tested his resilience, yet the forgiving support from his Soweto community provided multiple chances for redemption and eventual return to a stable life.[6] This "breaking" childhood, as he has described it, instilled a deep introspection that later informed his artistic expressions.[7]Education and early influences
Samkelo Lelethu Mdolomba, known as Samthing Soweto, faced significant challenges during his secondary education in Soweto, where he attended high school after a turbulent adolescence. At age 15, he was arrested alongside friends for armed robbery and spent over two months in a youth detention center awaiting trial, leading him to drop out in Grade 8 due to the upheaval and his ongoing struggles with reading and writing.[8][9] Upon release, he returned to school to demonstrate personal growth, repeating Grade 3 earlier in his education and matriculating despite persistent literacy difficulties that made lessons a "nightmare," as he later described; he coped by memorizing content phonetically.[10][2] His initial exposure to music occurred during this formative period, beginning in the detention center where he first discovered singing as an outlet, which helped him distance himself from crime and substance issues. Back at school, he joined the choir, sparking a deeper interest in a cappella and soulful vocals through local township gatherings and church performances that echoed Soweto's vibrant community sounds.[8][10] Early influences shaped his artistic leanings, drawing from South African genres such as gospel hymns prevalent in Soweto churches, Maskandi folk traditions, and mbaqanga-inspired isicathamiya from groups like Ladysmith Black Mambazo, alongside international soul and R&B elements that emphasized melody and harmony.[2] During his teenage years, he began developing songwriting skills by crafting short, relatable verses based on daily life experiences, such as morning routines, and participated in amateur performances, including a Grade 4 talent show and informal sing-alongs for classmates starting at age 6.[2] These self-taught basics in vocals and basic production laid the groundwork for his nascent creativity amid Soweto's socio-economic hardships.[8]Career
The Soil (2003–2013)
Samkelo Mdolomba, professionally known as Samthing Soweto, co-founded the a cappella group The Soil in 2003 while attending Tikelo Secondary School in Soweto, alongside Buhlebendalo Mda (Buhle), Ntsika Ngxanga, and Luphindo (Phindo) Ngxanga.[11] The group initially formed as a larger ensemble of high school students during Friday jam sessions, evolving into a core quartet focused on a cappella performances that blended contemporary Kasi soul with traditional African vocal harmonies.[12] This style drew from South Africa's rich choral traditions, emphasizing layered harmonies and rhythmic beatboxing to create anthemic, uplifting soundscapes without instrumental accompaniment.[13] Within The Soil, Samthing Soweto served as a lead vocalist and primary songwriter, contributing significantly to the group's creative direction and emotional depth. He co-wrote, composed, and produced eight of the eleven tracks on their eponymous debut album, The Soil (2011), which achieved multi-platinum status in South Africa and showcased his ability to craft introspective lyrics over intricate vocal arrangements.[3] Notable contributions included the composition of "Joy (We Are Family)," a celebratory anthem about unity and resilience that became one of the album's standout tracks, and lead vocals on songs like "Sunday," which explored themes of reflection and community.[3] His songwriting often infused personal narratives from Soweto life, enhancing the group's authentic, harmony-driven aesthetic. The Soil's rise in the South African music scene during the early 2010s marked a revival of a cappella as a mainstream genre, with their debut album earning widespread acclaim for its innovative fusion of urban soul and indigenous influences. The group won the South African Traditional Music Award (SATMA) for Best Afro-Soul in 2012, recognizing their breakthrough impact and solidifying their status as pioneers of modern Kasi soul.[14] Their music resonated deeply with young audiences, promoting themes of youth empowerment, self-belief, and social upliftment through songs that addressed everyday struggles and triumphs in post-apartheid townships, inspiring a new generation to embrace vocal artistry as a tool for cultural expression and personal growth.[14] Samthing Soweto departed from The Soil in 2013 amid contractual disputes and creative differences, concluding his decade-long involvement with the group and paving the way for his transition to solo pursuits.[15] This exit, though initially contentious, allowed the remaining members to continue evolving while highlighting the foundational role he played in establishing The Soil's signature sound and influence on South African a cappella.[16]The Fridge and early solo endeavors (2013–2016)
Following his departure from The Soil, Samkelo Mdolomba, professionally known as Samthing Soweto, joined the nu jazz trio The Fridge in 2013 as lead vocalist, alongside drummer Ade Omotade and bassist Muthusi Thusi.[3] The band's sound blended urban jazz elements with influences reminiscent of 1920s American big band music, creating an eclectic, atmospheric style rooted in Johannesburg's live music scene.[17] During their tenure, The Fridge performed at local events and released tracks such as "U'cash" in 2014 under Motif Records, gaining a niche following in South Africa's jazz circuit.[18] However, the group disbanded in 2015 after Omotade and Thusi relocated abroad, marking a brief but influential chapter in Mdolomba's post-group exploration.[19] Amid this transitional phase, Mdolomba reflected on his experiences with The Soil through early independent releases, beginning with the 2010 mixtape This N That Without Tempo, a 10-track project self-produced and distributed via digital platforms.[20] The mixtape featured introspective themes of personal growth and urban life, with standout tracks like "Dreamin of U" and "Peace N Lovely Things"—a homage to Miriam Makeba—emphasizing vocal layering and minimal instrumentation to highlight emotional depth.[3] Though released during his Soil tenure, it served as a foundational experiment in solo expression, circulating primarily on campus radio stations and building a cult audience without major label support. In 2014, Mdolomba advanced his solo career with the EP Eb'suku, a five-track release available on iTunes and Bandcamp that showcased his evolving production skills and self-release approach.[21] The EP experimented with voice-centric arrangements, using minimal percussion on the opening track "Kwamampela" while tracks like "Mdolomba" delved into autobiographical narratives of his musical journey and identity struggles.[21] Other songs, including "This Is for the Fans" and "I've Given Up," explored themes of resilience and fan connection amid personal reflection.[22] This project led to performances like the 2014 Rocking the Daisies Festival, signaling growing independent momentum.[3] By 2016, Mdolomba continued self-releasing singles such as "Thanda Wena" and "Ubhukhazikhazi" on SoundCloud, focusing on amapiano-infused experimentation while navigating the challenges of establishing a distinct solo identity outside group dynamics.[3] These efforts faced hurdles, including financial constraints typical of independent artistry and limited commercial reach, as he lacked the promotional resources of major labels during this buildup period.[23] Despite modest visibility, this era honed his genre-blending style and laid the groundwork for future breakthroughs through persistent, low-profile output.[21]Breakthrough with "Akanamali" and Isphithiphithi (2017–2020)
In 2017, Samthing Soweto achieved his breakthrough with a featured vocal performance on Sun-El Musician's single "Akanamali," released on May 21. The track's recording process was notably swift, with Soweto composing and laying down the lyrics and vocals in approximately one hour during a casual studio session.[24] It quickly became a massive commercial success, topping South African charts and earning platinum certification for over 200,000 units sold.[25] At the 24th South African Music Awards in 2018, "Akanamali" secured three accolades for Sun-El Musician and Soweto, including Best Collaboration, Highest Airplay Song, and Highest Airplay Composer.[26] That same year, Soweto released Val'amehlo on February 24 as his first major solo project under Platoon, a 10-track compilation drawing from his earlier independent recordings to showcase his emerging artistry. Standout tracks included "My Mrs.," a soulful R&B-infused ballad about romantic devotion, and "Ndizakuwe," which highlighted his emotive falsetto over mellow instrumentation. The project garnered initial solo recognition, particularly in the wake of "Akanamali's" momentum, establishing Soweto as a distinctive voice in South African pop and laying groundwork for his full-length debut.[27] Soweto's debut major-label album, Isphithiphithi, arrived on September 20, 2019, marking a pivotal evolution in his career. The 13-track record blended Soweto's signature soulful vocals with layered electronic beats and traditional African rhythms, with production contributions from amapiano figures including Kabza De Small.[28] Thematically, it delved into spirituality—exemplified by "Omama Bomthandazo," a tribute to devout women of faith—and the vibrancy of township life, reflected in the title's isiZulu meaning of a "crowded or chaotic place," evoking the energy and struggles of urban South African communities.[29] Other motifs included love, family, and everyday joys, delivered through introspective lyrics and dynamic arrangements. Critics praised the album's cohesion and emotional depth, with OkayAfrica noting its "effortless vocals float[ing] over rich production that flirts with dance music and Afro pop."[29] Isphithiphithi debuted at number one on Apple Music's South African chart and won Best Afro-Pop Album at the 26th South African Music Awards in 2020.[30] In September 2024, a public dispute arose between Soweto and DJ Maphorisa over production credits and ownership of masters for Isphithiphithi and other collaborations. Soweto admitted he had falsely claimed Maphorisa's involvement in producing the album to enhance its commercial appeal, stating it was actually handled by others including Mas Musiq and Kabza De Small; he also accused Maphorisa of unpaid royalties and misrepresentations. Maphorisa countered that the album was recorded at his home and he had generously allowed Soweto full master rights without compensation, denying production claims while alleging Soweto's ingratitude. The feud highlighted tensions in South African music regarding credits and royalties but did not alter the album's established success.[31][32] During this period, Soweto's work significantly influenced South African music by pioneering a fusion of soulful Afro-pop with emerging amapiano elements, adding emotional depth to the genre's typically upbeat sound. His collaborations and releases helped propel amapiano's rise, attracting a broader audience beyond local borders and substantially growing his fanbase, as evidenced by millions of streams and increased live performance demand by 2020.[33]Danko! and mid-career collaborations (2020–2023)
In December 2020, Samthing Soweto released the EP Danko!, a six-track project delving into amapiano sounds and marking a collaborative pivot during the height of the COVID-19 pandemic. Produced primarily by De Mthuda, the EP features contributions from artists such as Njelic on "Chomi," MalumNator and Da Muziqal Chef on "Tilili," Alie-Keys on "Hey Wena," and Sir Trill on "AmaDM." Other tracks include the introspective "Ngisendleleni" and upbeat "Weekend." The title Danko! draws from amapiano slang for "thank you," reflecting Soweto's gratitude toward the genre's rising global influence and his own artistic evolution, building on the amapiano elements introduced in his prior work Isphithiphithi.[34][35][36] The EP's release emphasized themes of appreciation and resilience, with Soweto describing it as a nod to amapiano's cultural footprint amid personal and industry challenges. Tracks like "AmaDM" highlight melodic vocal layers over piano-driven beats, showcasing Soweto's soulful delivery in a dance-oriented context. Due to COVID-19 restrictions limiting physical events, promotions shifted to digital formats, including the live-recorded "The Danko! Medley" with the Mzansi Youth Choir, which blended EP highlights with choral arrangements to engage fans online and amplify virtual accessibility. This approach helped build Soweto's streaming presence, aligning with broader adaptations in South Africa's music scene during lockdowns.[34][37][38] Mid-period collaborations further expanded Soweto's amapiano footprint, including his feature on "eMcimbini" from Kabza De Small and DJ Maphorisa's live album Scorpion Kings (Live) in 2020, alongside Aymos, Mas Musiq, and Myztro, which peaked at number one on South African charts. These partnerships underscored Soweto's versatility in ensemble productions, contributing to amapiano's mainstream surge. In 2022, Soweto's solo single "Amagents," produced by Christer, debuted at number one on the South African charts and earned gold certification from the Recording Industry of South Africa (RiSA) after surpassing 1.2 million streams across platforms within weeks of its June release. The track resonated culturally for its emotive exploration of relationships and introspection, solidifying Soweto's role in blending soulful narratives with contemporary dance rhythms.[39][40]Touch Is a Move (Good Morning) and recent projects (2024–present)
In July 2025, Samthing Soweto released his second full-length studio album, Touch Is a Move (Good Morning), marking his return to music after a five-year hiatus from major projects.[41] The 17-track album, spanning 50 minutes, draws its title and overarching narrative from the artist's reflections on daily life in 1990s Soweto, inspired by his childhood experiences as a five-year-old named Samkelo.[42] Through a seamless integration of skits and songs, it explores themes of nostalgia, personal growth, grit, grace, and introspective routines, portraying a journey of perpetual motion rooted in cultural familiarity.[33][43] The album's tracklist includes introspective openers and collaborative highlights, such as:- "Goodmorning" (1:02)
- "Ndandatho" (5:13)
- "Ama Get Down" (feat. Blxckie) (5:03)
- "Dont Wanna Let Go" (3:55)
- "Deda" (4:59)