South Africa’s live music calendar is set to welcome an exciting new addition with the launch of the inaugural Scatterlings Music Festival, a one-night celebration of music, storytelling and cultural unity taking place at Huddle Park in Johannesburg on August 1.
Inspired by Johnny Clegg’s timeless anthem “Scatterlings of Africa,” the festival is the vision of acclaimed musicians Msaki and Jesse Clegg. The event aims to honour Clegg’s remarkable musical legacy while creating a platform where artists from different genres, generations and cultural backgrounds can share one stage.
The festival boasts one of the strongest local line-ups of the year, bringing together award-winning performers including Sjava, Sun-El Musician, Simmy, Muzi, Tresor, Zolani Mahola and Grammy Award-winning producer and singer Zakes Bantwini. The event promises a unique musical experience, with artists reinterpreting Johnny Clegg’s classics alongside performances of their own celebrated hits.
For Bantwini, the festival represents far more than another live performance. He believes it is an opportunity to celebrate one of South Africa’s most influential musical figures while introducing his catalogue to younger audiences.
One of the moments he is looking forward to most is performing his reinterpretation of a Johnny Clegg classic alongside Msaki. Although the title of the song remains under wraps, it is expected to be released as the next single from the upcoming Scatterlings album, a collaborative project featuring contemporary South African artists paying tribute to Clegg’s music.
“I think I’m looking forward to really just performing the reinterpretation of the record that we did with Msaki,” Bantwini said.
“I want to see people’s response and how they are going to enjoy it live because most people obviously know the song, but they are not enjoying this version.”
Rather than treating the recording as a remix, Bantwini approached it as a complete reinterpretation, imagining how he would have written the song if it had originally been his own.
“It felt good because I really interpreted it as if this song was mine. That’s exactly how I would have done the song. For me, I wasn’t making a remix, I was interpreting the song.”
The project follows the release of several reimagined Johnny Clegg classics, including J’Something’s rendition of “Asimbonanga,” highlighting how the late musician’s work continues to inspire artists decades after its original release.
Bantwini is equally enthusiastic about sharing the stage with such a diverse collection of performers.
“I think it’s one of the best line-ups this year. It’s a very interesting and very diverse line-up, totally diverse in terms of even the music itself and the audiences.”
Despite spending more than two decades performing around the world, Bantwini admitted that there are several artists on the festival programme he has never had the opportunity to perform alongside.
“I don’t know the last time I was on a line-up with Sjava. I don’t know the last time I was on a line-up with Zolani. I’ve never been on a line-up with Jesse. This is going to be the first time.”
Having performed on some of the world’s biggest stages, including international festivals across Europe, North America and Africa, Bantwini says there is still nothing quite like performing for South African audiences.
“Coming home is always special. South Africans are so expressive. When they like something, you hear them making chants and noise just to show appreciation.”
He believes local audiences bring an unmatched level of energy that often stands out, even when they attend concerts abroad.
“South Africa, we just don’t dance and keep quiet. We always bring the vibe. You always know if there’s a South African in the crowd, even when you’re performing overseas, because they don’t keep quiet even there.”
Bantwini’s career has evolved dramatically since the release of early hits such as “Clap Your Hands.” Today, he is regarded as one of Africa’s leading producers, with an extensive catalogue that includes chart-topping songs like “Osama,” “Imali,” “Wena” and “Bayethe.” His work has earned multiple South African Music Awards, international recognition and a Grammy Award for his contribution to global music.
Reflecting on the longevity of his career, Bantwini credits one person above everyone else—his mother.
“I thought that music needed you to just be talented, but my mother was like, ‘No, no, no. You have to go to school and study this thing. If you say you like it, go study it.'”
That advice led him to formally study music, something he believes completely transformed his career.
“Going to school really shaped the way I approached music. It gave me the technical ability to interpret what is in my head. I wasn’t waiting for a pianist to play me a chord. I could play my own chord. I wasn’t waiting for a bass guitarist to play me a bass guitar. I could play on my own.”
His formal education gave him the confidence to become a complete musician, composer and producer, allowing him to create every aspect of his music independently.
Beyond commercial success, Bantwini says one of his proudest achievements has been helping reshape perceptions of dance music. While many people associate the genre with parties and nightlife, he believes it can also communicate powerful social, political and spiritual messages.
“I think we’ve changed the perception that says dance music is only about irresponsible lyrics.”
“I have shown people that this is also music that could serve you spiritually. It can also serve politically. It can also serve as a mirror into what is happening in society.”
Songs such as “Wena Baba” demonstrate that electronic music can inspire reflection while still getting audiences onto the dance floor.
Despite reaching the highest levels of the industry, Bantwini says retirement is nowhere on the horizon.
“I am still making music. I think I’m not going to stop making music.”
Outside the recording studio, he has also expanded his focus to developing the next generation of creatives through the newly launched Zakes Bantwini Foundation.
The initiative builds on years of mentorship work through his artist incubation programme in Durban, where emerging musicians receive studio access, mentorship, accommodation and professional guidance to help launch sustainable careers in the music industry.
“We take artists who are amazing artists, we give them shelter, we give them access into the studio for free for them to start their careers.”
Artists including Karyendasoul and Maline Aura have emerged from the programme, and Bantwini says he hopes the foundation will continue opening doors for talented young creatives. He also revealed that his company is expanding into the sports industry, adding another dimension to his growing business portfolio.
As the countdown to the inaugural Scatterlings Music Festival continues, organisers hope the event will become more than just another music festival. By celebrating Johnny Clegg’s legacy while showcasing South Africa’s finest contemporary artists, the festival aims to honour the country’s rich musical heritage and inspire a new generation of performers and music lovers alike.
