In the world of music, there are artists who create melodies, and then there are those who craft sonic tapestries, weaving together culture, personal narratives, and universal emotions. Muneyi belongs to the latter category. His music has been described as a gift from the gods, a healing experience that bridges the listener to the rich narrative of Tshivenda folktales and modern sounds. Rooted in the influences of his Makhulu (grandmother), his community upbringing, a love for language, vulnerability, and personal experiences, Muneyi’s artistry has the unique ability to transcend language and connect directly to the heart and soul.
As a multifaceted artist, songwriter, composer, and guitarist, Muneyi’s musical journey has taken him from a small village outside Thohoyandou to stages alongside some of South Africa’s most relevant artists. With his debut album, “Makhulu,” he delved into themes of love, loss, and healing. Now, with his EP, “For the Boys I Like,” Muneyi boldly opens new doors into the depths of his heart, inviting us to share his raw feelings and personal experiences.
In this exclusive interview, Muneyi opens up about his creative process, his collaborations with award-winning artists, and the evolution of his music.
Muneyi, your music has been described as a healing experience that connects listeners to Tshivenda folktales and modern sounds. Can you share with us how your upbringing and community have influenced this unique blend of storytelling and music?
[MUNEYI]: Having grown up without much access to music, mostly the music I’d hear would be very specific and would be serving a function as opposed to merely just entertaining. When I finally had access to music through a smartphone in my late teens, I then easily gravitated towards music that had meaning and spoke to me on a deeper level and I believe that’s what led me here. Also existing in a community that had a mix of different religious practices which had different music, also really influenced what and who I consumed.
You picked up the guitar for the first time after finishing school, which became a means to express your narrative in the language of Tshivenda. Could you tell us about that moment and how music became your chosen medium for storytelling?
[MUNEYI]: It’s so funny, I had befriended a group of guys who were part of a Christian band and they played very Western contemporary Christian music but with Tshivenda lyrics. One of them lent me a book called “Guitar For Beginners” and then another friend also left her guitar at my residence and I just started learning from there. Growing up I don’t think I had ever imagined I’d play the guitar and those moments have now amounted to my entire practice as a musician.
You’ve shared the stage with prominent South African artists. Can you share any memorable experiences or lessons learned from collaborating with these musicians, and how has it contributed to your artistic growth?
[MUNEYI]: Firstly, the power of collaboration is extremely important to me and being able to share the stage with some celebrated musicians has firstly affirmed my craft outside of myself and my belief of what it is and has added a new dimension of validation to it. And secondly, there’s a sense of being held and supported on stage when you’re with others. My absolute favourite moment has to be when I shared the stage with Steve Dyer, Siya Makuzeni, Xixel Langa, Bokani Dyer, Hope Masike and a few others, in a band called Mahube that previously had greats such as Oliver Mtukudzi. Him being one of my childhood heroes and me being a part of that moment even after he’s gone, was really beautiful. Another beautiful experience was being a part of the Ndabo Zulu band alongside Thandi Ntuli, Leomile, Thando Zide to name a few.
Winning the Afropunk Battle of the Bands in 2019 was a significant milestone. How did this experience shape your music career, and what did it mean for your journey as an artist?
[MUNEYI]: It exposed me to performance at the highest level and the amount of work it takes to be a prepared artist. It showed me that if you are ready and have put work into your craft, you can share the stage with people you looked up to and be seen as musical peers. Outside of the technical lessons, it also really framed my brand and art in a beautiful way and introduced me to the world at the ripe, tender beginning of my career. From thereon I went on to meet amazing collaborators and other people whom I wouldn’t have necessarily had access to and I am grateful for that.
Your new EP, “For the Boys I Like”, is described as a revelation and a more personal exploration of your innermost thoughts and emotions. Could you give us some insight into the inspirations and experiences that led to this introspective journey?
[MUNEYI]: The inspiration was firstly me and having to think about my socialisation as a young man who grew up in a very specific way which wasn’t traditional. I wanted to share from the inception, my parents’ absence, and how that might have framed how I see the world. I figured the most recurring theme was love and romance so I wrote it from that lens of how I love, how I am loved and how sensitive I am as a young queer man. It also deals a lot with identity politics and figuring out why things happened the way they did but ultimately it’s a little pocket into who I am as an individual living in a modern Africa in 2023.
“Maipfi” was the second single from your EP and features a collaboration with Msaki. Could you describe the creative process behind this mesmerizing song and how you worked together to convey the emotions it evokes?
[MUNEYI]: I wrote the first and chorus to Maipfi the morning of my breakup with my then boyfriend and like the song says, I was sort of stuck and without words. I remember Msaki inviting me to a songwriting camp that was facilitated by FoundSound and AltBLk and while we were there, we were speaking about heartbreak and we ended up all collaborating and finishing the song. It was an emotionally taxing exercise on my end, having to grieve my loss and also work on the song but ultimately it became such a beautiful labour of love and I can’t imagine anyone else who could have honoured the song the way Msaki did.
Your debut album,”Makhulu,”focused on lessons in love, loss, and healing. How does this EP differ in terms of themes and emotions you’re exploring, and what motivated this shift in your music?
[MUNEYI]: The first project is an ode to my grandmother who is my alfa and omega and from a technical point of view, I wrote in a way that I believed she would have if it were her song. I also wrote stories about her life and her experiences. Even the production had to match that she’s grown, even though it’s still contemporary and somewhat sounds modern. Language was also a big factor. I had to write in a language she could understand and scrutinize and most importantly, connect with. In this recent body of work, I could explore more lighter themes within my context. I could also open room to sing in other languages not only so there’s a relatability, but because in my actual life, my expressions exist in more than one language. This body of work is also kore hybrid in terms of having a lot of electronic productions as opposed to Makhulu which was almost purely recorded live with live instrumentation. The motivation for me will always be the story I am telling and what it requires and spirit of surrendering to that and then bringing it to life as close as it feels in my body.
You mentioned drawing inspiration from various artists, including Oumou Sangare, Ali Farka Toure, and Beyonce. How do these diverse influences manifest in your music, and can you share specific elements from these artists that you’ve incorporated into your work?
[MUNEYI]: These are artists that I believe have honoured who they are and what they came to do on earth and as artists whose work I chose to really delve into and study in my early 20s, I can’t help but feel like there is so much to learn from how they make their music from songwriting, composition, production and even performance and I draw inspiration from them in different ways that all add up to my craft.
You’re focused on building a community of artists. How do you envision this community supporting each other, and what message do you hope this movement of artists will convey to the world?
[MUNEYI]: I really think it’s important to exist in a community regardless of what career path or what world you live in. Doing anything in silo does not help. For me personally, my band and I are sort of each other’s collaborators in that if one has a gig, I can play the guitar for them, if the other needs help in studio, I can show up but on a bigger practical level, we have started a trio called Listomo which is a Sesotho word for folklore and it’s myself, Leomile & Kekelingo and we write and sing folklore. Another part of growing a community for me has been just showing up for other artists, at their shows so that even the consumers can see that we exist more collaboratively than competitively. I am always hoping that other artists who I might not exist in the same spaces can see that collaboration grows us all, and makes us all better.
As a multifaceted artist who has made a remarkable journey in the music industry, what advice would you give to aspiring artists who aim to follow in your footsteps? And could you also share any exciting plans or aspirations you have for your upcoming EP and beyond?
[MUNEYI]: I believe I am still growing and have barely scratched the surface but my biggest advice would be that you always have value to give at any moment and time. There’s no loss in trying. Don’t try to copy what others are doing, do what works for you even if you’re not celebrated for it. Build a community and get a lawyer before you sign anything.
Featured Image Source(s): Supplied
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