Mkhiwa Omhle broadens his sound

FOR Afro-Classic Jazz vocalist and songwriter Mkhiwa Omhle, music is becoming increasingly less about standing alone and more about building something that can outlive the individual.

The musician, born Zibusiso Sobrique’nt Ncube, is expanding his musical family, working with new band members, writing for Seventh-day Adventist (SDA) groups and preparing another project even as he continues to promote his latest album, “Ngokuntulo.”

With three albums already under his belt — Golide (2023), Intothoviyane (2024) and Ngokuntulo (2026) – Mkhiwa Omhle is developing a catalogue that draws heavily from Matabeleland’s cultural and musical heritage while allowing room for experimentation.

His journey into music, however, was not straightforward.

Born in Mbomanzi in Lower Gwelo, under Nganguye village in the Midlands Province, he grew up in Emakhandeni, Bulawayo, before training and working as a professional teacher.

The chalkboard eventually gave way to the microphone when economic circumstances took him to South Africa in search of greener pastures.

He currently works as a construction engineer in South Africa, balancing his professional career with his musical ambitions.

The duality is reflected in his approach to music – disciplined enough to build a catalogue while remaining open to collaborations and new creative directions.

His recording journey began with the 2021 single “Africa”, followed in January 2022 by Xola, Qaphela and Nithule.

Those early singles laid the foundation for his subsequent albums.

His debut album, Golide, was particularly significant because it was conceived as an homage to Lovemore Majaivana, with the title drawing from the legendary musician’s totem.

The tribute established one of the defining characteristics of Mkhiwa Omhle’s work: an interest in keeping the sounds, memories and lessons of previous generations alive.

By the time he released Ngokuntulo, that interest had become more pronounced.

He describes the album as carrying a heavier Matabeleland sound, drawing inspiration from Majaivana, The Jobs Combination, Fanyana Dube and George Sibanda.“Ngokuntulo is more Cultural and carry heavy Matabeleland sound that reminds someone of Lovemore Majaivana and

The Jobs Combination, as well as Fanyana Dube not forgetting the legendary George Sibanda,” he said.

Rather than restricting himself to entertainment, Mkhiwa Omhle uses his music to address human and social life.

“It focuses more on human and social life, rebuking, appealing as well as teaching. We always focus on daily lives and making them better.”

That philosophy extends beyond his own recordings. Mkhiwa Omhle has written songs for a number of SDA groups and choirs, finding a particular fulfilment in creating gospel music.

“Writing is my passion, and it makes more sense when I’m doing gospel Adventist songs; well, I have penned for many Adventist groups,” he said.

His involvement with SDA groups highlights another dimension of his artistry — songwriting as a service to communities rather than simply a vehicle for his own career.

It has also allowed him to explore themes of faith, hope and social responsibility in ways that differ from his secular Afro-Classic Jazz repertoire.

At the same time, his own band is undergoing transformation.

Mkhiwa Omhle has brought in Wandie Mabhaye, Precious Phiri and Donald Mlalazi, expanding what he describes as a bigger Mkhiwa Omhle band.

“I have combined with Wandie Mabhaye. Precious Phiri and Donald Mlalazi, have both joined the band and Mkhiwa Omhle is a big band now,” he said.

The new additions are not merely about increasing numbers on stage.

For him, the expanded line-up represents growth in sound, voices and musical maturity.

“I’d say their roles are very big and have helped the band to mature more like wine, the voices and melodies are passion-driven,” he said.

The development comes as the musician continues to embrace collaborations with established artists.

His work with Jeys Marabini on Ngokuntulo stands out as one of the album’s notable collaborations.

Mkhiwa Omhle describes Marabini as a legend whose humility and willingness to continue learning impressed him.

“Jeys is a legend, and him coming closer to me was a blessing, old but very humble, mature and still be able to take advice. To me, Jeys is the next big Bulawayo giant,” he added.

The collaboration resulted in “Izidakamizwa”, which saw Marabini stepping up to the challenge presented by the younger artiste.

For Mkhiwa Omhle, the value of such collaborations extends beyond the recording studio.

He sees them as opportunities for musicians to exchange ideas and advice, strengthening the relationship between generations.

That inter-generational approach is also evident in his desire to see the original Ndolwane Super Sounds figures, Martin “The Big Boss” Sibanda and Charles Ndebele, reunite.

He has released “Okuhlul’amadoda Kuyabikwa”, a Tshibilika song calling on the two musicians to reconcile and work together again.

“I haven’t spoken to them face to face but they know the song and they are aware of the song,” he said.

The campaign complements his broader musical philosophy: established musicians should not simply be remembered for what they achieved in the past but should be given opportunities to continue contributing to the musical landscape.

While pursuing these ambitions, Mkhiwa Omhle is already looking beyond “Ngokuntulo.”

He is working on a reggae album titled, “Ubobekezela”, suggesting that his attachment to Afro-Classic Jazz and Tshibilika does not mean he intends to remain confined to one sonic territory.

The forthcoming project promises another chapter in a career that has steadily evolved from singles into albums, collaborations, gospel song-writing and an increasingly expanded live ensemble.

His recent appearance at the inaugural Afro Music Festival in Johannesburg, which transformed Braamfontein into a celebration of African music, offered another platform for the Zimbabwean-born musician to expose his sound to a wider audience.

Yet despite his life and work in South Africa, his music remains anchored in the cultural landscape that shaped him.

From Mbomanzi and Emakhandeni to the sounds of Majaivana, Fanyana Dube, George Sibanda and The Jobs Combination, Mkhiwa Omhle’s artistic identity is built around a conversation between where he comes from and where he is going.

That conversation is also evident in the way he is building his band.

The addition of Mabhaye, Phiri and Mlalazi suggests a musician who understands that longevity in music is rarely achieved alone.

It requires other voices, different perspectives and a willingness to share the stage.

For Mkhiwa Omhle, the next phase therefore appears to be about expansion – expanding his band, expanding his songwriting portfolio, expanding his collaborations and expanding his musical vocabulary.

And while “Ngokuntulo” looks backwards for inspiration from Matabeleland’s rich musical heritage, “Ubobekezela” points towards another musical direction.

The common thread, however, remains the same: storytelling.

Whether writing for an SDA choir, paying homage to a musical legend, collaborating with Jeys Marabini, adding new voices to his band or calling for the reconciliation of Ndolwane’s giants, Mkhiwa Omhle continues to treat music as more than sound.

For him, it is a means of preserving memory, communicating values, creating community and, perhaps most importantly, bringing people together. – Follow on X @MbuleloMpofu