Q&A with musician and SBYA award winner Nthato Mokgata

Also known by his stage name Spoek Mathambo, Nthato Mokgata is a musician, artist, producer, rapper, and singer-songwriter. Through his solo career and projects, such as Batuk and Fantasma, Mokgata has toured the globe extensively.

Mokgata rose to fame in the late 2000s with his fusion of a wide array of musical influences. He is known for coining the term “Township Tech” to describe his sound.

He is also the director of Future Sounds of Mzansi, a documentary exploring South Africa’s cultural landscape, 20 years into democracy.

How does it feel to win one of the country’s most sought-after art awards?

It gives me motivation to trust my instincts and be open to more learning. It’s inspiring as it’s an award I would never have imagined receiving. Past winners have mostly been classically or jazz trained, and myself, being completely self-taught, I’m inspired not to give up. 

Tell us more about your vNAF show and any challenges set by the virtual nature of the festival.

For this year, I presented an ode to my mentor and friend, multi-instrumentalist maskandi artist Bhekisenzo “Vukazithathe” Cele.

A couple of years ago, he invited me on a trip to his original home Dweshula, in Port Shepstone, KwaZulu-Natal. And as a filmmaker, I pour my affection for and gratitude to Vukazithathe in the form of a film that centres on him, his music, and his life’s story — in Vukazithathe’s own words.  

How would you describe your sound?

I make a wide variety of music depending on my mood. Whatever interests me at the time is how I would describe the sound. As an African artist, I always represent where I’m from inherently or overtly…but I try to stay free.  

What does Spoek Mathambo’s creative process entail?  

Well, that depends on what I’m doing. I work as a visual artist, a filmmaker, producer, songwriter and score music for films and commercials. So the creative process really depends now what I’m doing…what is most consistent, is that I emphasise having fun with my work. 

Did having South African jazz musician Jonas Gwangwa as an uncle play a role in your music career? 

Yes, it showed the scale that my career could reach. 

What are some of the challenges you’ve encountered so far? 

Dwelling on challenges calls them back…I prefer to move on. 

Which artist or creative would you like to collaborate with?

I would like to collaborate with the artist that I made my documentary about: Vukazithathe. We have worked together before, but I feel that our collaboration has not yet reached its potential.  

What inspired the switch from studying medicine to graphic design and your music career?

I have been writing creative prose and songs since I was a small child … I wasn’t a focused-enough medical student. I switched courses to a degree in graphic design and marketing, which is where I started pursuing visual arts.  

What do you feel is the best song you’ve released and why?

I like Fantasma Umoya. I can listen to it at any time of the day.  

• Fantasma is a five-man collective project which weaves together electronica, hip-hop, traditional Zulu maskandi music, Shangaan electro, South African house, psych-rock and punk to form a unique and fresh hybrid.

Any highlights or achievements in your musical career?  

Making Fantasma was fun. One of the biggest highlight was maybe touring with artists like Cubaine, Remi Kabaka, Damon Albarn, and Miriam and Amadou on Africa Express.

I’ve loved producing music for Laliboi; I’ve loved working with Batuk; I’ve loved meeting Hugh Masekela; I loved introducing my father to Paul McCartney in London and performing Control with Peter Hook from Joy Division. It’s been a massive highlight collaborating with and meeting my heroes in music.  

As a globetrotter, what are some of the lessons you’ve learnt? 

South Africa has a very unique perspective that has a lot to offer the rest of the world. That unique perspective can be seen in our standout innovative approaches to art and technology.