By Fidelis Manyange

HE made noise on the local music scene in the late 1980s with his hit song Divorce, and now Obediah Ndabezinhle Matulana — popularly known as Doctor Jah Kanindo — is back with a powerful comeback. Last week, the veteran artiste launched his 32nd album titled Ngiphuma eZimbabwe (Ndinobva kuZimbabwe), a refl ection of his deep-rooted love for his country of birth. The new album, packed with fastpaced beats like maskandi, sungura and jiti, caters to fans who appreciate authentic Zimbabwean music. Matulana’s ability to blend traditional styles with modern infl uences is proof of his versatility and evolution in a highly competitive music industry. His music continues to be embraced across the nation, placing him among Zimbabwe’s enduring musical icons.

He joins the ranks of infl uential musicians such as Lovemore Majaivana, Ndux Malax, Black Umfolosi, Tukuye Super Sounds, Dingumuzi Phuti aka DJ Phuti, and Christopher Shoko, artistes who have helped shape the country’s musical landscape. With his roots deep in Matabeleland, Matulana remains active and vibrant in the industry, proving that age has not dimmed his creative f l ame. “Ndauya zvine power,” he boldly declared on the sidelines of a recent show.

Having won the 2014 Zimbabwe Music Award for Best Engineered Album (Izimbazu), Matulana believes the recognition validates his staying power and musical ingenuity. Known for his signature kanindo beat, his sound is heavily infl uenced by West African benga music, later popularized in Zimbabwe as kanindo, named after the fampous Kenyan producer, Phares Oluoch Kanindo, who passed away in May 2014. Kanindo was known for revolutionising the East African music industry by pitting bands against each other, creating healthy competition and expanding musical opportunities. His infl uence gave rise to Zimbabwe’s own popular sungura style. Now based in Bulawayo, Matulana’s latest project includes revolutionary tracks such as Babanjiwe, Comrade, ZANLA, ZIPRA, Salithatha ngeAK 47, Guerrilla and Egangeni. These songs evoke powerful memories of Zimbabwe’s liberation struggle, drawing inspiration from the war-time songs sung by ZIPRA cadres.

“I produced this album to remind our youth that music played a vital role in liberating our country,” he explained. “This independence we enjoy each April was achieved through sacrifi ce by the sons and daughters of the soil.” The song ZANLA and ZIPRA is a lively jiti jive track that recalls the pungwe gatherings, where communities were educated about the liberation war’s strategies. Sibabanjiwe, a rich maskandi tune, draws from Zulu folk traditions originally linked to migrant workers and later evolved with South African society. Infl uential pioneers of this genre include Phuzushukela (John Bhengu), Bhekumuzi Luthuli, Shiyani Ngcobo and Phuzekhemisi. The genre remains highly popular in Matabeleland, featured prominently on Radio Zimbabwe’s Ziyetsha Ziyatshelela, once hosted by the late Jabulani Mangena and now presented by Liberty Mukhululi. Matulana also ensures his music reaches beyond Matabeleland. Songs like Sibabanjiwe, performed in Shona, feature jiti jive inf l uences to connect with a wider national audience. “The instrumentals and themes on this album are inclusive, when we fought for our freedom, we fought against an oppressive system, not a race or tribe. That’s why we celebrate independence as a rainbow nation,” said Matulana.

After years of residing in South Africa, he has now returned to Zimbabwe to record locally, responding to pleas from loyal fans who missed his presence on the home front. With a career spanning over 40 years, Matulana has witnessed and embraced every era of musical production from vinyl and cassettes to CDs, USBs, and now online streaming platforms. His melodious voice and powerful lyrics once dominated radio waves alongside greats like Solomon Skuza, Ndux Malax, Christopher Shoko, Khumbulani Moyo, Leonard Dembo, Andy Brown, and Busi Ncube. His voice, often described as soulful and commanding, earned him respect and admiration from both peers and fans alike. Interestingly, Matulana wanted to join the police force but his dream was shattered after he failed to meet the stipulated height requirements.

Music then became his destiny by default. His breakthrough came with the seven-track album Divorce, which was hugely popular, topping the charts on Radio 2 (now Radio Zimbabwe). Over time, Matulana has experimented with diff erent genres, including reggae. His 2013 reggae album Testing Ground — recorded in South Africa — became an instant hit. The project, which marked his 15th album, was a result of encouragement from his South African fans to look beyond kanindo. Featuring veteran artistes Nkosana Mthunzi and Thintitha Tshuma, it included the fan favourite Highlanders, which remains an anthem among supporters of the Bulawayo-based football club. Like fellow musicians Alick Macheso, the late Bob Nyabinde, Charles Charamba and Ndux Malax, Matulana has also nurtured the next generation.

His children — Mthulisi Native and Sikhangele Miriam —are already making waves with their solo projects. Mthulisi currently plays drums and provides backing vocals in his father’s band, The Jet Sounds. Matulana has carved out a solid fan base across Zimbabwe, thanks to timeless songs like Mprofi thi Gawula, Telephone, Umuntu, Umngane Yisitha Sakho and Mtanami. Divorce continues to feature prominently on Radio Zimbabwe’s Kwaziso/Ukhubingelelana listener’s choice segment. Despite the passing of time, Matulana often reminisces about the golden age of Zimbabwean music, when legends like Paul Matavire, Zex Manatsa, John Chibadura, Leonard Dembo and Busi Ncube had fans on the dance fl oor at thriving entertainment joints, many of which have since closed their doors.

While lamenting the decline of those iconic venues, the kanindo exponent is undeterred, continuing to perform and produce music for the love of his craft and the people. Doctor Jah Kanindo’s return proves that true talent never fades. With Ngiphuma eZimbabwe, he reclaims his place in Zimbabwe’s rich musical heritage reminding fans and critics alike that legends don’t retire, they re-invent.