One mark of a good musician is their ability to find and carve a niche for themselves. In modern days, this is no ordinary feat and many artists have fallen short in this regard, finding themselves producing music that does not stand the test of time.
Many times, the artists end up producing bubblegum music, yet, they keep churning out the crap. Sadly though, there is always a bunch of people to clap the crap on.
However, there are still a few Malawian musicians that have managed to create his unique niche is Nkhatabay-based Machuluka.
I am compelled to agree with the trademark line of his music “Machuluka pela, akumanya”, even though I have my own reservations about the line as well as the name that the artist has chosen for himself. But, that is a critique for another occasion. The point here is that the man has established for himself a brand that has gone on and established him as a brand in his own right. On that account, I am tempted to call his music ‘Machuluka music’ and not ‘Tonga beats’, as he himself calls it. Again, that’s a critique for another occasion.
Those in the know might agree with me when I say what gives Machuluka music its ‘Machulukaness’ is not just the Tonga language or Chitonga per se; for he sometimes trans-languages across Chichewa, Chitonga and Chitumbuka; but something deeper than that.
In fact, there are lots of songs that are rendered in Chitonga that cannot be compared to Machuluka music because doing thus is unfair to both the songs and the composers or artists.
I recently heard someone who seems to be following in Machuluka’s footsteps, but he comes across as doing so using two left feet.
What gives Machuluka music its ‘Machulukaness’ is the rare fusion of a number of elements.
First is the Tonga music (Tonga traditional music), represented by Chiwoda, Chilimika, Malipenga and Honala genres, each influencing the artist in its own totality.
I am yet to discern the contribution of Masyabi, if there is any in any of his songs. The second is the instrumentation employed in each of the Tonga music genres, largely represented by the drum, the nembanemba, visekese and the accordion. Something is worth noting while we are still on the instrumentation. Machuluka music employs the popular drum as well as the Tonga drum and the latter drum freely oscillates across the Tonga music genres identified above.
The third element of the fusion in Machuluka music includes the guitar and all the other instruments of popular music, which are needless to enumerate.
The last element, which actually represents a culmination of all the elements of the fusion in Machuluka music, is the simplicity of the lyrics that he employs. And, the perfect Tonga voice that comes with it is the icing on the cake. The simplicity of the lyrics gives a totally unique meaning to the ultimate sophistication that is encapsulated in simplicity thereby breathing a fiery life into the rest of the elements.
Take for instance, his hit Ndaziya Yiwi (I’ve come for you or I came for you).
The song opens in the usual fashion;
Aah Machuluka pela akumanya (Machuluka really knows)
Then comes the entry line; Ndakhorwa nda’nja yiwi ini. (I’m convinced it’s you I love)
Ndakhorwa nda’nja yiwi ini. (I’m convinced it’s you I love)
The first stanza goes like
Ndikwamba ndikali kukukhumba yiwi. (It’s a long time I started wanting you)
Ndikwamba ndikali kukuyanja yiwi. (It’s a long time I started loving you)
Utindigula somba dele ndimlenji. (You buy fish from me every morning.)
Leka koopa; ndemurwani chaa yini. (Don’t be afraid; I’m not an enemy.)
Choo ndapinga mbwee ndi chanju pee. (All I bring is love.)
Then comes the refrain;
Ndaziya yiwi. (I’ve come for you.)
Ndimuki naa; kumbi uchita soni? (Answer me; are you shy?)
Ndaziya yiwi. (I’ve come for you.)
Ndimuki naa; kumbi weepanthengwa? (Answer me; are you married?)
Ndaziya yiwi. (I’ve come for you.)
Aah ndimuki naa. (Answer me.)
The second verse is more or less a repetition of the first, but with a touch of flamboyant repetition;
Aah ndikwamba ndikali kukukhumba yiwi. (It’s a long time I started wanting you.)
Aah ndikwamba ndikali kukuyanja yiwi. (It’s a long time I started loving you.)
And then a repetition of the first verse followed by a flamboyant repetition of the refrain. The flamboyance in the refrain introduces a switch from ‘Ndaziya yiwi’ in the one line to ‘Ndapukwa yiwi’ in the subsequent one while maintaining the same glossing.
Kuyimba!
