After a five-year hiatus, Samthing Soweto makes a triumphant return with his much-anticipated album, “Touch Is a Move: Good Morning”, released on July 4th. More than just a collection of songs, this album is a deeply personal and meticulously crafted audio narrative, inviting listeners into a vibrant, intimate world through the eyes of a five-year-old in 1990s Soweto.
The album title reflects Samthing Soweto’s introspective journey: “Touch Is a Move” draws from a childhood game rule about commitment, while “Good Morning” comes from his daily ritual of greeting his audience, symbolizing connection. Together, they represent a decisive exploration of how simple rituals and connections shape us.
A Day in Samkelo’s House
The album flows like an ordinary day in Soweto, beginning with an early morning and winding down into the late evening’s reflections. Told through a seamless blend of skits and songs, the album meticulously follows a day in the life of five-year-old Samkelo in the early 1990s. We are introduced to his family – uMama, uGogo, bhut’ Lungisa, sis’ Amina, and sis’ BhiBhi – purely through his innocent yet perceptive eyes. Though in real life the third of four children, the album transports us to a time when he was “iqanda lakubo” – the last-born, relishing in the unique perspective this afforded him.
Inside The Album Story
The audio story opens with “Goodmorning,” where we hear little Samkelo waking up the snoring Bhuti’Lungisa by switching on the TV early in the morning to watch cartoons and sitting close to his feet. Bhuti’Lungisa complains that he is making noise, interrupting his sleep. Samkelo’s mother comes to little Samkelo’s rescue. This leads to the first song on the album “Ntandatho,” then the next one “Ama Get Down” which features Blxckie (this is the only feature Samthing Soweto has on the album), and then “Don’t Wanna Let Go.”
In “Sister Sister 1” we are introduced to the sisters singing along to “Don’t Wanna Let Go” while doing their hair, preparing for the Mr. Soweto contest (pageant) in the living room. This leads to track 6, “Swi.” Their conversation continues on “Sister Sister 2” where they talk about Arthur, the crush, while cleaning up. Little Samkelo interrupts them, switching the channel to his favorite cartoons. When they complain, Little Samkelo threatens to tell uMama that they are talking about a boy and that they don’t want him to watch his cartoons. They end up leaving the room, cueing the next track, “Amagents.” Adding “Amagents” after this conversation about the crush is so perfect because it’s not only about a father’s warning to his daughter about boys but also serves as an indirect warning to them in little Samkelo’s story.
In “Bhut’Lungisa 1” we get another view of Bhut’Lungisa and little Samkelo’s relationship. This time, little Samkelo rushes in to call Bhut’Lungisa as his friends are looking for him outside. He finds him closing his bag and asks him if he is leaving and if he can come with. Bhut’Lungisa coldly responds to him and leaving little Samkelo behind. This also makes one feeling so sad for little Samkelo because you can hear how sad he is to see Bhut’Lungisa leaving him behind.
We’re led into “Come Duze” and the second part where Bhut’Lungisa is with his friends talking about their hustle. One of them notices little Samkelo, greets him, but Bhut’Lungisa is not impressed with little Samkelo following him and reacts by shouting and hitting him. Little Samkelo then threatens Bhut’Lungisa that he’s going to tell uMama that he hit him and that he will snitch on him and his friends’ plans at the station, cueing “325” (this sets the scene for the song playing while Bhuti’Lungisa is out having fun with his friends and making eyes at a love interest) and “Cela’Sithandane” (I imagine where we see a deeper view of Bhuti’Lungisa’s love interest story).
In “Sis Thembi,” little Samkelo’s mother arrives home, tired, and the first thing little Samkelo does is snitch – something we see him do a lot throughout the story. The mother is too tired to attend to what he is crying about and checks in with the sisters (beautifully affirming one sister’s hairstyle for the Mr. Soweto contest) and asks about how everyone is doing. Sis Thembi gets a little annoyed, saying that uMama is always worried about little Samkelo and how he is, and that she knows he is a nuisance. uMama reprimands little Samkelo about running after Bhut’Lungisa and cuts him off as he is about to snitch on Bhut’Lungisa’s plans with his friends, cueing us into “Yebo,” then “Deda,” which beautifully transitions into the last scene in this audio story.
In “Goodnight” we hear the prayer from little Samkelo’s grandmother, uGogo, a prayer warrior in the household, uMama Omthandazo as in Isiphithiphithi. While she is praying, we hear little Samkelo’s prayer, wishing to be understood a bit more by his family, expressing his love for them, and wishing to belong. We see how Little Samkelo looks at Bhut’Lungisa as his male figure in his life (since his father is not around) and wants to get close to him, but he doesn’t allow little Samkelo to be. He falls deeper into sleep (and snoring like Bhuti’Lungisa in “Goodmorning”) as he mentions the things he loves the most: cartoons, friends, sweets. The album ends with the end of the uGogo’s prayer and the whole family laughing at how little Samkelo always wakes up early, wrapping up a beautiful moment between the family in this story.
Thematic Depth In Song
Beyond the compelling narrative, “Touch Is a Move: Good Morning” is a rich collection of love songs, each exploring a different dimension of this universal emotion: romantic, familial, complex, vulnerable, playful, and much more.
- “Ndandatho” is a vow of love through tradition, playing with the concept of ukulobola.
- “Ama Get Down” speaks to emotional confusion in a difficult relationship.
- “Don’t Wanna Let Go” is a heartfelt plea to fix things before it’s too late.
- “Swi” is a playful exchange with an ex.
- “Amagents” is a father’s warning to his daughter about boys.
- “Come Duze” is an invitation for closeness and affection.
- “325” celebrates the charm and poetry of ukushela intombi.
- “Ngicela Sithandane” is a direct and honest request to be loved.
- “Yebo (Ngiyazifela)” explores insecurity and longing in a relationship.
- “Deda” is a call for a loved one to stay safe and come home.
A Return Rooted in Authenticity
Samthing Soweto’s return is marked by transparency and deep connection with his fanbase, who kept his name alive during his hiatus. Collaborations with John Lundun and Anzo enrich the sound, and his openness about past industry disputes has further resonated with his audience. The album cover, featuring a grown Samkelo in the living room, poignantly connects the past and present of the audio story.
A Cultural Reclamation
“Touch Is a Move: Good Morning” transcends a typical music release; it’s a cultural reclamation of vulnerability and sonic intimacy. Amidst high-energy sounds like Amapiano, its chart-topping success (reaching #1 in South Africa on Apple Music) highlights a collective yearning for emotional authenticity and rich storytelling. The album’s cohesive flow and seamless transitions encourage repeat listens, establishing it as a living narrative with long-term listening value.
Samthing Soweto’s success points to a market craving emotionally intelligent content, celebrating softness, soul, and slowness as powerful forms of strength in African music. With “Touch Is a Move: Good Morning”, Samthing Soweto doesn’t just say “hello world”, he invites us into a deeply personal, universally resonant story.
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