Londile Moyo
Bruce Ndlovu
AFTER 14 years in the music industry, multi-award-winning Zimbabwean musician Berita Khumalo believes she has reached a pivotal point in her career — a time to not only reflect on her past but to broaden her horizons.
The last 14 years have been a rollercoaster for the celebrated songbird.
During this time, she has evolved from the young girl who shot to fame when legendary Kalawa Jazzme founder Oskido featured her song, Thandolwethu, on his hit album, Oskido I Believe.
Since then, she has produced numerous hits and collaborated with icons like Oliver Mtukudzi and Hugh Masekela, both of whom held her in high regard.
However, her journey has not been without its public trials. Berita saw her private life hit the headlines as her marriage and subsequent divorce from volatile South African media personality Nota Baloyi became front-page news.
On 1 May, the songstress will take the stage at the John Kani Theatre for a deeply personal showcase titled “Echoes of the Soul.”
She describes the performance as both a musical journey and an emotional unveiling. For Berita, 14 years in music is more than a milestone — it is a testimony. On that stage, she will not just perform her songs; she will tell her story.
“I am taking my fans and supporters into a space where I can lead them through this 14-year journey,” she said in a recent interview.
“I want to share the stories behind the music that I have never told before.”
For an artiste whose work has often spoken louder than her public persona, the show promises to peel back the layers that audiences have long felt but rarely seen.
It marks a deliberate shift from simply performing songs to narrating the life that birthed them.
The choice of venue is intentional. The historic John Kani Theatre, housed within the iconic Market Theatre Foundation, carries a weight of artistic legacy that mirrors Berita’s own path.
“The John Kani Theatre is perfect because it is such an esteemed stage — a stage that has powered the truth of so many legendary artistes from the beginning,” Berita noted.
“As a rising artiste, you always think, ‘One day, I would love to play at the Market Theatre.’ It is a bucket-list venue and I think this is the best time for it to happen.”
For Berita, timing is everything and this moment feels earned. She has carved a path defined by substance rather than spectacle. In an era increasingly driven by algorithms and attention metrics, she remains anchored in her authenticity.
“For me, it is always about authenticity. I am a musician first and a lover of music. The performance comes from my heart and soul.”
That grounding will shape Echoes of the Soul.
While the show will feature a larger, more expansive production, its essence will remain intimate.
“I am going big with this show. In this era of AI, I want to bring artistes together and showcase my love for live music. The arrangements are fuller and bigger — it is a celebration. I am in a season of gratitude,” she said.
That sense of gratitude comes after years of navigating an industry that has transformed dramatically. Berita has witnessed the shift from a time when music travelled further than faces to an age where visibility often rivals talent.
“When I won Best African Pop Album at the Metro FM Music Awards in 2013, people were asking, ‘Who’s this?’ because they knew the song, but not the person,” she recalled.
“For me, that has always been important. I do not see myself as a celebrity; I am a musician. I am not fazed by fame or followers; it is deeper than that.”
It is this philosophy that has built her catalogue into something enduring — music that lives beyond trends.
“I understand I have created something that will stand the test of time. Even my children’s children. One day, I do not have children yet. But my children’s children will listen to Thandolwethu and they will be like, wow, our ancestors were here. Music is a legacy.”
And perhaps it is fitting that Echoes of the Soul will unfold on Workers’ Day — a date that has taken on new meaning for the artiste as she reflects on the unseen effort behind every note, every lyric, every performance.
“There are so many people because we are, and I think for me, when I reflected on Worker’s Day, that is what came up for me. Just the sacrifice and the labour of love that we all go through on a day-to-day basis.”
Online Reporter