The Zawose Queens, Maisha Review

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The Zawose Queens, Maisha Review

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by Seamus Fitzpatrick

In the music of The Zawose Queens, one feels the spirit and fire of a long lineage, with the vibrations of their ancestors echoing through every note played and sung. Their debut album, Maisha, is a vibrant representation of the power and richness of East African musical traditions, interwoven with a slight modern touch that feels respectful and innovative.

Leah and Pendo Zawose, granddaughter and daughter respectively of the legendary Dr. Hukwe Zawose, carry forward the musical traditions of the Gogo (Wagogo) people from the Dodoma region of central Tanzania. This album marks a historic moment as the first-time women from this illustrious family have taken the lead as vocalists and performers. Traditionally, women in the Zawose family were relegated to backing vocals and playing muheme drums, but Maisha showcases Leah and Pendo’s dynamic presence and exceptional talent as frontwomen.

The album was produced by UK-based producers Oli Barton-Wood and Tom Excell, who have previously worked with artists like Jordan Rakei and Nubiyan Twist. They brought their Western influences to the table without overshadowing the organic, harmonic roots of the Zawose music. Recorded in makeshift studios in Bagamoyo, on a hotel rooftop in Zanzibar, and in London, the production maintains an authentic and raw feel, blending traditional sounds with subtle electronic elements.

The album opens with “Kuseka,” a track that sets the tone with fluid a cappella vocal parts that soon merge with polyrhythmic drums and instruments. The counterpoint in the chorus between the two vocal parts is particularly striking, creating a vibrant and lively introduction.

The title track, “Maisha,” encapsulates the album’s themes of daily struggles and triumphs. Its blend of traditional instruments and modern beats gives it an island vibe, with vocal harmonies that soar and intertwine beautifully. The balance of feel changes, densities, and instrumental sections keep the listener engaged throughout.

“Dunia Hii” takes a more contemplative approach, exploring the wonders of life and the interconnectedness of humanity. The percussion and traditional instruments lend the song a unique vibe, occasionally leaning towards Afro-Cuban sounds.

“Lule Lule,” recorded live on a beach, highlights the spontaneous and organic nature of the group. The hypnotic rhythms of the track transport the listener into a glorious musical trance, while “Fahari Yetu” celebrates tradition and pride, featuring snippets of real life woven into the music, including laughter and ululations. The vocal harmonies and expressions in this track are authentic and breathtaking.

“Mapendo” infuses Afrobeat and slight dub elements, showcasing the versatility of the Queens’ musical influences. Despite these modern touches, the traditional rhythmic undercurrent remains strong, never losing its foundation in the cross-rhythms and rhythmic melodies that are characteristic of The Zawose Queens.

“Kusekala Kwenyungu” and “Sauti Ya Mama” continue to delve into themes of tradition and personal narratives, with the former featuring an outstanding call-and-response section that highlights the lead vocalist’s skillful inflections and vocal embellishments.

“Muheme” exemplifies the delicate balance between singing and percussion, highlighting the musical skill of the Queens, while “Masanja Kalila” uses a droning pedal tone that allows the layers of instruments and percussion to build, creating a wash of vibrant, magical vibrations.

The album closes with “Chidodo,” featuring contributions from Wamwiduka Band, adding layers of vocals and instrumentation that enhance the collaborative spirit of the project.

Pendo and Leah Zawose are the true stars of this album, delivering soaring tunes and close harmonies that remain in perfect lockstep. Their voices, combined with the rich polyphony and the traditional instrumentation, create a listening experience that is deeply moving.

As The Zawose Queens state, “We wanted to blend the traditional and modern, to present our heritage to the world, and we have. We are setting an example for other women artists in East Africa to follow.” Maisha is a love letter and an embracive encouragement to other Tanzanian and East African women with its energy that is accomplished, beautiful, and brimming with joy, hope, and strength, this album is time very well spent. That’s the short of it!

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