Zulu Queens’ Isithembu finds strength in heritage, sisterhood and reinvention

The album was introduced at an intimate listening and showcase event at the Theatre of Marcellus at Emperors Palace, where the two artists presented themselves as the Zulu Queens. Dressed in contemporary interpretations of traditional Zulu attire, MaWhoo (Thandeka Nontobeko Ngema) and Lwah Ndlunkulu (Lwandile Mtshali) used the occasion to frame Isithembu as a project rooted as much in cultural identity as in contemporary music.

At its strongest, Isithembu feels like an exercise in cultural reclamation. MaWhoo and Lwah Ndlunkulu move away from some of the commercial sounds associated with their individual careers and immerse themselves in traditions shaped by maskandi, Isicathamiya and Mbaqanga. The project draws on the acoustic character of maskandi guitar, the concertina and the layered vocal harmonies associated with Isicathamiya, while retaining enough contemporary polish to make the music accessible beyond its traditional base.

That balance is what makes the album interesting. Rather than treating traditional music as a nostalgic reference point, the Zulu Queens approach it as a living form that can accommodate new voices. Their use of traditional guitar patterns, vocal arrangements and rhythmic structures gives the project a strong sense of place, while the two singers bring distinctly different vocal personalities to the material.

Lwah Ndlunkulu’s voice carries a rustic, earthy quality, while MaWhoo tends towards a smoother and more contemporary delivery. The contrast could easily have made the project feel disjointed, but instead it becomes one of its defining characteristics. Their voices provide different entry points into the same musical world.

The project’s lead single, ‘Distance’, featuring Feza, offers an early indication of that chemistry. Other tracks performed during the listening session, including ‘Iso Ngeso’, ‘Vela’ and ‘Woolies’, featuring Mthandeni SK, further demonstrated the breadth of the album and its willingness to move between traditional and contemporary textures.

The making of Isithembu was itself marked by an unexpected setback. During the media session, the artists revealed that the original recordings of all 14 songs were accidentally lost. They subsequently returned to the studio and recreated the project from the ground up.

Such an incident could easily have compromised a project built around intricate vocal arrangements and instrumental details. Instead, the second recording process appears to have given the album another layer of purpose. The circumstances surrounding its recreation add an element of resilience to a project already concerned with identity, heritage and the strength of women.

That theme was made explicit by Lwah Ndlunkulu during the event.

“We intentionally entered a male-dominated genre to prove that women can do anything and succeed at it.”

The statement captures much of what Isithembu is attempting. Its significance does not rest solely on two established artists experimenting with traditional sounds. It also lies in their decision to occupy a musical territory in which women have historically had less visibility and to approach it without compromising their identities.

The album therefore works on two levels. Musically, it is a meeting point between maskandi, Isicathamiya, Mbaqanga and contemporary South African pop. Culturally, it is an argument for the continued relevance of traditional music and the importance of allowing new generations of artists to reinterpret it.

The listening session, moderated by television presenter Ntombi Ngcobo-Mzolo, gave attendees an opportunity to hear the artists discuss the project and its individual songs. Afro-pop singer and songwriter Starr Healer opened the evening, while MaWhoo and Lwah Ndlunkulu performed selected tracks from the album.

Ultimately, Isithembu is most convincing when it trusts its traditional foundations. Its greatest strength is not the spectacle surrounding its arrival, but the decision at its core: two women taking sounds deeply associated with Zulu cultural identity and giving them new space to breathe.

Whether the project becomes a defining statement in the evolution of traditional South African music remains to be seen. But Isithembu makes a persuasive case that heritage does not have to be preserved by leaving it untouched. Sometimes, the best way to keep a tradition alive is to let new voices change it.