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A Zimbabwean bassist, a Kenyan guitarist and a Portuguese percussionist have joined forces on Leo ni Leo, an international musical collaboration celebrating Africa’s rich guitar heritage while confronting issues of cultural identity, colonialism and environmental degradation.
The EP brings together increasingly sought-after Zimbabwean bassist Tawanda Manika, Kenyan guitarist and vocalist Shyam Shah, and Portuguese percussionist Samuel de Oliveira in a project that blends different musical backgrounds while drawing inspiration from African traditions.
Exploring genres such as Zimbabwean sungura, Congolese soukous and Kenyan benga, the release demonstrates how guitar-driven music continues to provide a platform for storytelling, cultural preservation and social commentary.
At the centre of the project is Shah’s guitar work, characterised by intricate rhythms, melodic passages and an ability to create a rich soundscape with a relatively stripped-back arrangement. His vocals lead the storytelling, while Manika’s bass and de Oliveira’s percussion provide the rhythmic foundation.
For Zimbabwean listeners, Manika’s contribution offers a familiar musical connection through the distinctive rhythmic sensibilities associated with sungura.
This is particularly evident on “Ngoma Zetu”, where the guitar introduces the track before Manika establishes a steady bassline that works in tandem with de Oliveira’s cajon and shakers.
The bass is not overly dominant, but its importance becomes apparent as the arrangement develops. Manika’s playing gives the song its momentum, with subtle changes in intensity adding character while allowing Shah’s guitar and vocals to remain in focus.
At strategic moments, the bass drops out, creating space before returning to reinforce the groove. It is an effective arrangement that demonstrates how musicians can create movement and contrast without overcrowding a song.
The collaboration is also built around a broader cultural message. On “Ngoma Zetu”, Shah questions the tendency to imitate foreign music at the expense of indigenous traditions.
The Swahili phrase “Mbona tunaiga ya kigeni?” translates to “Why do we imitate foreign music?”
The question captures the song’s call for greater appreciation of local musical identities.
The message resonates across the continent, including Zimbabwe, where sungura, mbira and other indigenous musical forms continue to shape the country’s cultural identity.
Another track, “Ukoloni”, examines the effects of colonialism on African culture, reflecting on how foreign systems and values disrupted indigenous traditions. The song encourages listeners to consider the importance of reclaiming cultural confidence and preserving heritage
The title track turns its attention to the environment, warning of the consequences of ecological destruction. Its lyrics include the line “Dunia yetu inaungua kabisa”, meaning “Our world is burning”, reinforcing the urgency of environmental protection.
These themes give the EP substance beyond its musical arrangements, positioning it as a project concerned with the relationship between culture, history and contemporary society.
Musically, de Oliveira’s percussion is central to the trio’s sound. His steady rhythms and carefully placed accents complement Manika’s bass, creating a foundation that allows Shah’s guitar to move between vocal passages and instrumental flourishes.
The production keeps the vocals and guitar prominent, leaving enough room for the bass and percussion to contribute without competing for attention. Verses and choruses alternate with guitar solos, giving the music an engaging, organic feel.
The collaboration also highlights the possibilities of cross-border musical exchange. Although the three musicians come from different backgrounds, their individual contributions come together around a shared appreciation of African guitar traditions.
For Manika, the project provides another opportunity to showcase Zimbabwean musicianship within an international setting. His bass playing connects the arrangements to familiar regional rhythms while serving a wider musical conversation that extends beyond national boundaries.
Ultimately, Leo ni Leo is a tribute to the generations of African musicians who have shaped guitar-driven music, as well as a reminder that the tradition remains relevant.
By combining Kenyan musical influences, Zimbabwean bass sensibilities and Portuguese percussion, the trio delivers a project that honours the past while addressing the challenges of the present.
