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Thapelo Maseko rises as Bafana Bafana history-maker after World Cup breakthrough

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Thapelo Maseko

Thapelo Maseko has etched his name into South African football history after scoring the decisive goal that sent Bafana Bafana into the knockout stages of the FIFA World Cup for the first time.

At just 22 years old, the winger’s journey has quickly become one of the standout stories of South African sport—one defined by resilience, discipline and a steady rise from humble beginnings in the Vaal.

From Sebokeng to the world stage

Maseko was raised in Eatonside, Sebokeng, where football became both an escape and a dream. His father, a truck driver, played a central role in supporting his early development, often making personal sacrifices to ensure his son could chase opportunities in the game.

Those early years shaped the mindset that now defines his professional approach: grounded, focused and driven by long-term goals rather than short-term success.

Family first, then personal success

Thapelo Maseko

After returning from the Africa Cup of Nations, Maseko made a significant personal decision that reflected his priorities off the pitch. He purchased a family home in Kempton Park for his parents and siblings before turning attention to his own living arrangements, later moving into his own apartment.

Despite his growing success, he maintains a relatively modest and structured lifestyle. He has entered a partnership with a German car dealership, which placed him behind the wheel of an Audi RS3 Sportback, while he has also expressed appreciation for the Hyundai Kona N Line as a practical everyday vehicle.

Away from football, Maseko keeps a quiet routine. He enjoys video games, listens to amapiano music and prefers a low-profile lifestyle away from the spotlight.

Discipline behind the rise

Maseko has often spoken about the importance of structure in his life. His daily routine is tightly controlled, with a strong emphasis on nutrition, recovery and rest. He limits nightlife and studies elite wingers such as Jeremy Doku and Leroy Sané as part of his development process.

Interestingly, before committing fully to football, he once considered a completely different path. He has said that if his sporting career had not materialised, he would likely have pursued corporate finance and qualified as a chartered accountant.

Setbacks and resurgence

His rise has not been without challenges. During his time at Mamelodi Sundowns, Maseko struggled for consistent game time and suffered a serious hamstring injury during the 2023 Africa Cup of Nations. The setback saw him lose his place in the squad and spend time in the reserves.

However, a loan move to AEL Limassol in Cyprus proved to be a turning point. The change of environment allowed him to rebuild confidence, regain form and establish himself as a key player once again.

World Cup heroics

Maseko’s defining moment arrived on football’s biggest stage during the 2026 FIFA World Cup group stage clash against South Korea.

In the 63rd minute, he reacted sharply to a cross-field pass from Tshepang Moremi, taking two composed touches before firing a precise left-footed finish at the near post. The goal proved to be the match-winner.

The victory secured South Africa’s place in second position in Group A with four points, behind group winners Mexico. More importantly, it marked the country’s first-ever progression beyond the World Cup group stage after previous appearances in 1998, 2002 and 2010.

Maseko’s performance earned him the Man of the Match award, making him the first South African player in history to receive the honour at a World Cup tournament.

What comes next

Bafana Bafana now turn their attention to a Round of 32 clash against Canada at SoFi Stadium in Los Angeles on Sunday, June 28, with momentum and belief growing after their historic achievement.

For Maseko, the moment represents more than just a goal—it is the continuation of a journey still unfolding, from Sebokeng’s dusty fields to the global football stage.

Melanie du Bois steps into politics as BOSA ward candidate ahead of 2026 elections

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Melanie du Bois

South African actress and motivational speaker Melanie du Bois has officially entered the political arena after being announced as a ward candidate for Build One South Africa (BOSA) ahead of the 2026 municipal elections in Cape Town.

The announcement marks a significant career shift for du Bois, who is best known to many South Africans through her work in television and public speaking. She is expected to contest a ward seat in one of Cape Town’s municipal regions as the party prepares for the upcoming local government elections.

Led by Mmusi Maimane, BOSA positions itself as a party focused on strengthening local government systems, improving service delivery and addressing everyday challenges faced by communities. The party has increasingly been recruiting candidates with diverse professional backgrounds as it looks to expand its footprint in municipal politics.

Melanie du Bois

Du Bois has not previously been widely associated with formal political ambitions. However, aspects of her public career suggest a gradual alignment with community-focused engagement and social development themes.

Over the years, she has worked as a motivational speaker, often centring her talks on empowerment, resilience and personal growth. Her engagements have frequently touched on broader societal issues, particularly those affecting communities at a grassroots level.

While she has not explicitly positioned herself as a political figure in the past, her public presence has often intersected with discussions around social upliftment and community development, which now appear to align with her new role in politics.

Before her entry into the political space, du Bois built a strong profile in South Africa’s entertainment industry, where she became a familiar face on television screens. She is widely recognised for her roles in popular local productions such as 7de Laan and Arendsvlei, where she contributed to long-running storylines that resonated with audiences across the country.

Her acting career remains a key part of her public identity, and her transition into politics adds a new dimension to her professional journey. Like several public figures who have moved from entertainment into civic leadership roles, du Bois now brings her visibility and communication experience into the political landscape.

As she prepares to contest the upcoming elections, her candidacy reflects a growing trend of South Africans from creative and media industries stepping into local governance roles, aiming to translate public influence into community impact.

With the 2026 municipal elections approaching, her entry into the race adds another notable name to the list of candidates seeking to shape the future of Cape Town’s local government landscape.

Nota Baloyi Claims Sjava Took Control of ‘The Trap Temptations’ Project

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Nota Baloyi claims DJ Black Coffee

The long-awaited collaborative album The Trap Temptations, featuring Ruff, Emtee, Sjava and Saudi, has been widely celebrated by fans as a nostalgic reunion of some of the most influential voices to emerge from South Africa’s trap movement. However, the project has also sparked debate within the industry, with music executive and co-host of Music Pulse, Nhlamulo “Nota” Baloyi, offering a sharply critical take on the release.

Released on Youth Day, the album marks the return of the former African Trap Movement (ATM) collective, a group that rose to prominence during their time under Ambitiouz Entertainment. Together, the four artists helped shape a distinctly South African interpretation of trap music, blending street narratives, soulful melodies and emotionally driven storytelling into a sound that defined a generation of hip hop fans.

Following years of successful solo careers, the reunion project was expected to showcase both nostalgia and artistic evolution. While many listeners have praised the chemistry between the artists and welcomed the return of their shared sound, Baloyi argues that the album leans too heavily in one creative direction.

Speaking on his podcast, he compared the project’s overall feel to a past-era group dynamic, suggesting that it resembles more of a collective identity than a fully balanced collaboration.

“They are recreating the Teargas vibes by joining up together. They sound like Teargas, I won’t lie. It’s like if Teargas did a trap album. Instead of ‘The Trap Temptations’, it should have been ‘The Trap Teargas’,” he said.

Baloyi further suggested that the project does not fully highlight the individuality of all four artists, arguing that certain contributors do not stand out as strongly as expected.

“You don’t hear Emtee adding something new. What’s the difference between that album and Logan? Sjava’s on it. It’s the same sound, Ruff, same producer,” he added.

According to his view, the production style and overall direction of the album feel too familiar, relying heavily on established sonic patterns associated with Sjava and longtime collaborator Ruff. This, he argues, makes it difficult for the project to feel like a fresh creative step forward for the group.

His comments have ignited discussion among fans and industry observers, many of whom have taken to social media to debate whether the album should be viewed as a nostalgic celebration or critiqued for lacking experimentation.

Despite the criticism, The Trap Temptations has been praised by a large portion of listeners who appreciate the reunion of four artists who played a pivotal role in shaping South Africa’s trap era. For many fans, the project represents a return to a sound and chemistry that defined a significant moment in local hip hop history.

Ahead of the album’s release, the group described the project as more than just a musical collaboration, framing it as a reflection of their shared journey and growth over the years.

“This album represents our brotherhood, and we are also trying to give our people a picture of how much we have grown musically as a collective,” Ruff said.

Sjava echoed similar sentiments, emphasizing that the project carries the weight of their individual experiences since their early days together in the industry.

As reactions continue to pour in, the album has become one of the most talked-about local releases of the year, not only for its music but also for the conversations it has reignited around artistic identity, collaboration and legacy within South African hip hop.

Thabsie Returns After Nine Years with Soulful New EP While You Wait

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Thabsie

After nearly a decade away from releasing a full body of work, South African singer-songwriter Thabsie has made a highly anticipated return with her new EP, While You Wait, a project that marks the beginning of an exciting new chapter in her career.

The six-track release arrives nine years after her acclaimed debut album, Songs About You, and serves as a preview of her long-awaited sophomore album, which will be released through her independent label, Song Bird Entertainment.

Thabsie

For Thabsie, whose real name is Bathabise Vokwana, the timing finally felt right to return to the spotlight. While she has always been known for taking her time with new music, she admits that waiting for the “perfect moment” can often become an endless cycle.

“I missed my first love, which is music, so the time could not be better,” she said.

Over the years, Thabsie has built a reputation as one of South Africa’s most distinctive R&B voices, blending soulful vocals with heartfelt songwriting. Rather than chasing trends or releasing music frequently, she has chosen to focus on creating deeply personal records that reflect her own experiences and artistic growth.

While You Wait explores the emotional highs and lows of romantic relationships, touching on themes of love, heartbreak, vulnerability and the complicated emotions that come with trying to leave a relationship that no longer serves you.

 

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The project captures the inner conflict between recognising that a relationship has become unhealthy while still feeling emotionally connected to someone you cannot easily walk away from. Through honest lyrics and smooth R&B production, Thabsie delivers a body of work that many listeners are likely to find deeply relatable.

Looking back at her musical journey, the singer believes her artistry has evolved significantly since the release of Songs About You.

“I’ve been spending years in the studio experimenting, honing my sound and growing, especially as a songwriter,” she explained.

That growth is evident throughout the EP, which combines contemporary R&B with nostalgic influences. Several tracks cleverly incorporate interpolations of well-known early 2000s hits, including Harrison Crump’s dance anthem Once Again, while also paying tribute to South African classics such as Where I Should Be by Mina Nawe and DJ Tira’s Won’t Let Go.

The result is a project that feels both fresh and familiar, bridging generations of music lovers while celebrating local musical heritage.

Collaboration has always been central to Thabsie’s career, and the new EP continues that tradition.

“My whole career is defined by collaborations; that’s what I love the most about it. You can’t create without collaboration,” she said.

“I was blessed enough to work on this EP with people that I admired, very talented producers and songwriters.”

One of the standout moments on the project is the opening track, Good Time, which features award-winning rapper Emtee. The collaboration brings together two artists known for their emotional storytelling and melodic approach to music.

For Thabsie, working alongside Emtee was a personal milestone.

The singer described the collaboration as a dream come true and one of the highlights of the entire project, saying his contribution added the perfect finishing touch to the EP.

Since bursting onto the scene, Thabsie has become one of South Africa’s most recognisable voices through both her solo releases and collaborations with some of the country’s biggest artists. Her breakout success came with songs such as African Queen, Ngiyaz’fela Ngawe, Finally, and collaborations with Kwesta, Black Motion, Sun-El Musician and DJ Ganyani, earning her a loyal following and critical acclaim.

Outside of music, she has successfully expanded her brand into entrepreneurship, fashion and digital content creation.

Over the past few years, Thabsie has partnered with leading lifestyle and beauty brands while sharing travel, fashion and wellness content with her growing online audience. She says the move into content creation happened naturally during a period when she wanted to challenge herself creatively.

“Content creation came at a time when I wanted to pivot,” she explained.

“It has shown me that I can create outside of the music as well. It’s become a big passion of mine and an outlet to express all the different things I’m passionate about.”

Known for her effortlessly elegant style, Thabsie has also become a respected fashion figure within the entertainment industry. Whether attending awards ceremonies, performing on stage or creating digital campaigns, she consistently embraces timeless, sophisticated looks.

For her, fashion has always been about confidence rather than following trends.

“How an outfit makes me feel is the most important thing. I also feel like putting effort into how you look is a big form of respect for yourself and others.”

As she prepares for the release of her second studio album, While You Wait offers fans a glimpse into the artist she has become over the past nine years. The EP reflects not only her musical evolution but also her personal journey as an independent artist, entrepreneur and creative who continues to grow on her own terms.

With renewed confidence, a refined sound and a fresh independent vision, Thabsie appears ready to begin one of the most exciting chapters of her career. If While You Wait is any indication, fans won’t have to wait much longer to hear what comes next.

Zakes Bantwini Talks Johnny Clegg Tribute, Staying Relevant and His Next Chapter

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Zakes Bantwini

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.

Zakes Bantwini

“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.

Isaiah Rashad to Make His South African Performance Debut at Rocking the Daisies

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Isaiah Rashad

American rapper and songwriter Isaiah Rashad is officially heading to South Africa for the first time, with the acclaimed artist confirmed as one of the headline acts for the 2026 edition of Rocking the Daisies.

Festival organisers announced that the Tennessee-born rapper will perform in Cape Town as part of the iconic music and lifestyle festival, marking his debut performance on the African continent.

Sharing the exciting news on social media, Rocking the Daisies welcomed the rapper by saying:

“For the first time on the continent, South Africa please welcome @isaiahrashad to the Garden! Repping Chattanooga, Tennessee, the critically acclaimed emcee and multi-dimensional artist will be live in Cape Town for the very first time on the Rocking the Daisies stage in 2026! Life’s not so awful right now, huh?”

Isaiah Rashad

Isaiah Rashad also confirmed the announcement on his own social media platforms, revealing that his South African visit will include performances in both Cape Town and Johannesburg, giving fans in two major cities the opportunity to experience his live show.

The rapper has built a loyal global following thanks to his introspective lyricism, laid-back delivery and distinctive Southern hip-hop sound that blends jazz, soul and trap influences. Signed to Top Dawg Entertainment (TDE), the label behind stars such as Kendrick Lamar, SZA, Schoolboy Q and Jay Rock, Rashad first gained widespread recognition with his critically acclaimed projects Cilvia Demo and The Sun’s Tirade.

His 2021 album, The House Is Burning, further cemented his reputation as one of hip-hop’s most respected storytellers, featuring standout tracks including “Headshots (4r Da Locals),” “From the Garden” and “Wat U Sed.” Earlier this year, he released It’s Been Awful, a project that continues to showcase his deeply personal songwriting while exploring themes of growth, mental health and self-reflection.

Fans can expect to hear crowd favourites such as “Headshots,” “M.O.M,” “Boy in Red,” and several tracks from his latest release when he takes to the stage later this year.

Isaiah Rashad joins an already impressive line-up for Rocking the Daisies 2026. Earlier this year, organisers confirmed that British singer-songwriter Jorja Smith would also be performing, adding even more excitement to what promises to be one of the festival’s biggest editions.

Over the past two decades, Rocking the Daisies has established itself as one of Africa’s leading music festivals, attracting thousands of festival-goers each year with a blend of international stars, South Africa’s biggest artists, art installations, fashion, food and immersive lifestyle experiences.

The festival has earned a reputation for bringing world-class performers to South African audiences, with previous editions featuring artists including Summer Walker, Stormzy, JID, Mac Miller, 6LACK, Clean Bandit, Ayra Starr, Snoh Aalegra and Masego, alongside some of the country’s most celebrated musicians.

This year’s festival is especially significant as Rocking the Daisies celebrates its 21st anniversary. The three-day event will take place from 2 to 4 October 2026 in Cape Town and is expected to attract music lovers from across South Africa and beyond.

The announcement also highlights South Africa’s growing status as one of the continent’s premier destinations for international touring artists. Over the past year, the country has welcomed an increasing number of global performers, with stars such as Dave, Ne-Yo, Tamia, Brian McKnight, Kehlani and several others announcing South African dates.

With Isaiah Rashad making his long-awaited debut, hip-hop fans can look forward to witnessing one of the genre’s most respected lyricists perform live on local soil for the very first time.

Prince Kaybee Opens Up About ‘Heno Babayo’ and His Bold New Global Chapter

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Prince Kaybee

Award-winning South African producer and DJ Prince Kaybee has entered a new phase of his career with the release of his latest single, “Heno Babayo,” marking his first official release under international electronic music label PLAYY. Records.

For the acclaimed hitmaker, the partnership represents far more than a label change. It signals a fresh creative direction built on artistic freedom, long-term growth and a shared vision for the future of Afro-house music.

Speaking about the move, Prince Kaybee explained that he was drawn to PLAYY. Records because of its commitment to developing artists rather than simply following industry trends.

“The move to PLAYY. Records is inspired by how PLAYY. is willing to grow with the music. We live in a time where labels focus on trends and not build something to be trendy,” he said.

Prince Kaybee

The transition follows a successful chapter with Universal Music South Africa, where Prince Kaybee established himself as one of the country’s most influential dance music producers. Over the years, he delivered a string of chart-topping hits including “Club Controller,” “Banomoya,” and “Uwrongo,” songs that helped shape the sound of contemporary South African house music.

His impressive catalogue has featured collaborations with some of the industry’s biggest names, including Lady Zamar, Busiswa, TNS, Shimza, Black Motion, Ami Faku, Nokwazi, Azana and Gemma Griffiths. His productions have consistently blended infectious rhythms with emotional storytelling, earning him numerous awards and a loyal fan base across Africa and beyond.

As Afro-house and Afro-tech continue to gain global recognition, Prince Kaybee believes the genre has entered an exciting period where African producers are influencing dance music on an international scale. Rather than chasing commercial success, he remains focused on creating timeless music that resonates with listeners.

“My role is just to be part of a moving vehicle, creating as many sonic memories as I possibly can,” he said.

That philosophy is reflected in “Heno Babayo,” a track that showcases his signature polished production while embracing a cleaner, more electronic Afro-tech sound. The single also serves as the lead release from his upcoming album, giving fans an early glimpse into the musical direction of his next body of work.

Prince Kaybee has previously revealed that he is gradually moving away from the guitar-driven melodies that defined many of his earlier hits. Instead, he is exploring richer electronic textures, atmospheric synths and deeper Afro-tech influences that align with his artistic evolution.

He has often described music as a form of healing, saying he wants every release to leave a lasting emotional impact rather than becoming a short-lived viral hit. His goal is to create songs that accompany life’s biggest moments and remain meaningful years after their release.

Beyond music, Prince Kaybee has also embraced personal growth through endurance sports. Earlier this year, he completed an extraordinary three-day cycling challenge from Johannesburg to Durban, covering more than 600 kilometres despite freezing temperatures, strong winds and physically demanding conditions. The challenge reflected the discipline and resilience that have become central to both his personal life and career.

Having spent more than a decade at the forefront of South African dance music, Prince Kaybee says he is energised by this new chapter. With fresh ideas, international opportunities and several collaborations already in the works, he believes his best music may still be ahead.

“It’s an exciting chapter, and ideas are flowing. I have a couple of exciting collaborations with amazing artists for everyone to look forward to.”

As he embarks on this new journey with PLAYY. Records, Prince Kaybee is determined to continue pushing creative boundaries while flying the South African flag on the global electronic music stage.

Kabza De Small at Centre of Growing Debate Over AI and Cultural Ownership

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Kabza De Small

The rapid rise of artificial intelligence (AI) is reshaping the global music industry, sparking both excitement and concern among artists, producers, record labels and policymakers. While some musicians view AI as a valuable tool that can assist with songwriting, production and marketing, others fear that the technology threatens creative ownership, artistic integrity and fair compensation.

In South Africa, those concerns have become increasingly pronounced as local artists grapple with questions about how their music may be used to train powerful AI systems capable of generating new songs, melodies and vocal performances.

The debate has intensified following claims that the work of hundreds of South African musicians appears in datasets used to train AI music-generation models.

According to Doreen Mokoena, founder and chief executive of Cybersec Clinique, a recent audit of publicly documented AI training datasets identified a significant presence of South African music across multiple databases used in the development of generative AI systems.

Sharing the findings on social media, Mokoena argued that South Africa’s cultural and musical heritage may be among the country’s most valuable exports being utilised without the explicit knowledge or consent of many creators.

“The biggest export South Africa never authorised may be its culture,” she wrote.

According to the audit, more than 200 South African artists spanning genres such as Amapiano, Kwaito, Maskandi, Gqom, gospel and hip-hop were identified within datasets reportedly used to train next-generation AI music platforms.

The findings have reignited discussions about consent, copyright and the rights of artists whose work may be incorporated into machine-learning systems. Critics argue that AI companies are benefiting from vast amounts of creative content while many creators remain unaware that their music may have been included in training datasets.

The issue gained additional attention after music industry executive Lindiwe Dhlamini highlighted a searchable database published by The Atlantic, which allows users to investigate whether specific creative works appear in datasets reportedly used by technology companies to train generative AI models.

Cybersec Clinique’s analysis identified some of South Africa’s most influential artists among the datasets. Amapiano pioneer Kabza De Small reportedly appeared most frequently among the local artists identified, while long-time collaborator DJ Maphorisa also featured prominently.

Other notable names included Nasty C, gospel collective Spirit of Praise, Cassper Nyovest, Kelvin Momo, Emtee and Sjava, illustrating the breadth of South African music represented across multiple genres.

The audit suggests that recordings from these artists may have been included in datasets designed to help AI systems learn musical structures, rhythms, production techniques and stylistic characteristics. Such systems can then generate original compositions or create music that resembles particular genres and styles based on simple text instructions.

The findings have also amplified concerns previously raised by artists such as Nanette and Filah Lah Lah, who have publicly questioned the growing role of AI in creative industries.

Nanette has argued that technology cannot replace the emotional depth, lived experiences and personal expression that human artists bring to music. Filah Lah Lah has similarly raised concerns about whether years of artistic development, practice and craftsmanship are being undervalued in an era where algorithms can replicate certain musical styles within seconds.

The controversy reflects a broader global debate unfolding across the entertainment industry. Internationally, musicians, publishers and record companies have increasingly challenged AI developers over the use of copyrighted material in training datasets. Several lawsuits and regulatory discussions are underway in major markets as stakeholders seek clarity on what constitutes fair use, licensing requirements and creator compensation.

For South Africa, the issue carries additional significance because of the country’s rich musical heritage and globally influential genres. Amapiano, in particular, has experienced explosive international growth in recent years, with local artists helping shape a sound that has become one of Africa’s most successful cultural exports.

Industry observers warn that without clear legal frameworks and policy protections, artists may struggle to maintain control over how their work is used in the age of artificial intelligence. Others argue that AI can coexist with human creativity if appropriate licensing systems, transparency measures and compensation models are implemented.

As governments, technology companies and rights holders continue to debate the future of AI-generated music, the Cybersec Clinique findings have added urgency to calls for policy reform. For many artists, the central question remains whether innovation can be achieved without compromising the rights and livelihoods of the creators whose work helps power the technology in the first place.

The growing controversy has placed South Africa at the heart of an international conversation about creativity, ownership and the future of music in the digital age—one that is likely to shape the industry for years to come.

Muni Long Reveals Health Battle After Stepping Away From ‘The Boy Is Mine’ Tour

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Muni Long

Grammy Award-winning singer-songwriter Muni Long has opened up about the life-threatening health crisis that forced her to leave the highly anticipated The Boy Is Mine tour and ultimately led to a double lung transplant.

In a candid interview with Robin Roberts on Good Morning America, the singer revealed that what began as ongoing health challenges developed into a medical emergency that left her facing a matter of life and death.

Long, who joined fellow R&B stars Brandy, Monica and Kelly Rowland on the celebrated tour, admitted that she pushed herself beyond her physical limits despite knowing her health was fragile.

Muni Long

Reflecting on her decision to go on tour, Long acknowledged that she was already dealing with significant health concerns before the first show began.

“I should have never taken that tour. But there was so much going on in my life where I had to do it,” she said.

Long has been living with Systemic Lupus Erythematosus since receiving her diagnosis in 2014. Lupus is a chronic autoimmune condition that can cause the body’s immune system to attack healthy tissues and organs, leading to inflammation, fatigue, joint pain, and potentially severe complications affecting major organs. The condition often presents unpredictable flare-ups that can be triggered by stress, illness, environmental factors, or physical exertion.

According to Long, the demands of touring proved especially difficult. Constant travel, changing climates, demanding performance schedules, and long hours away from home placed additional strain on her body. She explained that even cold weather can trigger lupus flare-ups, making the Northeast leg of the tour particularly challenging.

Her condition deteriorated further after she developed pneumonia while on the road. Although she initially stepped away from performing to recover, she later attempted to return to the tour. Looking back, she now recognizes that her body was sending clear warning signs that her health was rapidly declining.

“I went back, and I think, maybe five or six dates in, it was just like … I couldn’t even get out of bed to make my call time for a stage,” she recalled.

The worsening symptoms eventually forced her to leave the tour altogether. What seemed like a difficult professional decision would later prove to be a critical turning point in saving her life.

After returning home for Thanksgiving, Long’s health took a dramatic turn for the worse. She was hospitalized and soon learned that her lungs had sustained severe damage. Doctors delivered devastating news, informing her that without immediate intervention, she had only a short time left to live.

Faced with the choice between hospice care and a double lung transplant, Long was forced to make one of the most difficult decisions of her life.

As a singer whose career depends on her voice, the prospect of undergoing major surgery involving her lungs was particularly frightening. She admitted that concerns about her future as a performer initially weighed heavily on her mind.

However, thoughts of her family ultimately helped her prioritize survival over career fears.

“The ego and the vanity was just like, ‘But what about my voice? What’s going to happen?’ But then I look at my son, and I think about how much more life that I have to live. Quality of life was first. I can’t sing if I’m not here.”

Following the transplant, Long also underwent vocal surgery and has continued with extensive rehabilitation and medical follow-up care. Lung transplant recipients typically face months of recovery, including physical therapy, respiratory rehabilitation, and ongoing monitoring to ensure the body does not reject the new organs.

Now six months after the operation, Long says her recovery has exceeded expectations.

“I’m doing fabulous. I’m six months post-op. Tomorrow is my last appointment for all the things. No symptoms. Asymptomatic. No infections. None of that.”

The singer’s remarkable recovery marks a significant milestone after what she describes as the most challenging period of her life. Fans have continued to rally behind her throughout her health journey, celebrating both her resilience and determination to return to music.

Muni Long

Known for chart-topping hits such as Hrs & Hrs and Made for Me, Long has become one of contemporary R&B’s most successful voices. Her openness about living with lupus has also helped raise awareness about the realities of chronic illness, particularly among women and people of colour, who are disproportionately affected by the disease.

Looking back on her experience, Long hopes her story encourages others to prioritize their health and listen to their bodies before reaching a crisis point.

“Don’t put yourself on the back burner for everyone else. You need to focus on yourself. You need to pour into yourself. Don’t be afraid to say no. Rest if you need to. That is a radical thing – for us to rest.”

Her message serves as a powerful reminder that success should never come at the expense of personal well-being, and that recognizing when to slow down can be just as important as pushing forward.

Sakhele Mzalazala Introduces Young Readers to the World of Music Copyright

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Sakhele Mzalazala

Understanding who owns a song after it has been written, performed, and recorded can be challenging even for adults. Yet in an era where young people are creating and sharing content more than ever before, knowledge of copyright and creative ownership has become increasingly important.

Music rights consultant, author, and entrepreneur Sakhele Mzalazala is seeking to bridge that knowledge gap through his new educational book, What is Copyright? Our Song, a publication designed to introduce children and young people to the fundamentals of copyright, intellectual property, and music rights.

Sakhele Mzalazala

Using storytelling, relatable characters, and engaging illustrations, the book simplifies concepts that are often viewed as complex and difficult to understand. It aims to help readers develop an appreciation for creative ownership while encouraging them to think critically about the value of original work.

Targeted at primary school learners, music students, young adults, and even adults with limited knowledge of copyright law, the book addresses an important educational need within the creative sector. By presenting legal and industry concepts in an accessible format, Mzalazala hopes to empower future generations of artists, creators, and entrepreneurs with the tools they need to protect their work.

According to Mzalazala, educating children about intellectual property should begin long before they enter the professional world. He believes that understanding ownership, authorship, and creative rights at an early age can help prevent many of the challenges artists face later in their careers.

“This book is more than just a publication; it is a movement,” he said.

“We cannot continue to wait until artists are adults before teaching them about their rights. The future belongs to our children, and it is time for them to understand the value of creativity and ownership from an early age. In fact, it is time for our children to teach us and help protect the creative industries for generations to come.”

The publication arrives at a time when conversations around intellectual property, digital content, and creative rights are becoming increasingly relevant. With music, videos, artwork, and other forms of content being shared instantly online, creators face growing challenges in protecting their work and ensuring they receive proper recognition and compensation.

For many years, artists across various creative industries have spoken about the difficulties they encountered after entering the entertainment business without a clear understanding of copyright, publishing rights, royalties, and licensing agreements. Mzalazala argues that these issues can be addressed through education and awareness from an early stage.

Published independently through SM Communications, What is Copyright? Our Song has been completed and is ready for printing and distribution. The book combines education with entertainment, encouraging readers to actively participate in the learning process rather than simply reading the material.

Sakhele Mzalazala

Children are invited to act out characters, engage with interactive scenarios, and explore real-world examples that demonstrate how creative ownership works. This hands-on approach is intended to make learning both memorable and enjoyable while helping young readers build confidence in their understanding of copyright principles.

Beyond its educational value, the book also highlights the importance of respecting the work of others and recognising creativity as a valuable asset. By introducing these concepts early, Mzalazala hopes to nurture a generation that is better equipped to navigate the creative economy and contribute positively to the growth of the arts and entertainment sectors.

As discussions around intellectual property continue to evolve in the digital age, What is Copyright? Our Song offers a timely and innovative resource that seeks to make copyright education accessible to all, starting with the youngest members of society.

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