Watching Ulenni Okandlovu perform live music is a privilege. And it ought not to be taken lightly. One cannot resist the urge to rever the artistic direction of his endeavours. Such is his prowess, spread across different artistic disciplines. And in this instance, I want to specifically focus on the aural pilgrimage that Ulenni curated on the 13th of July 2025, at Moongate Restaurant in Harare. It is only befitting to state that Take Over The City Live! (hereinafter referred to as TOTC Live!) was a breathtaking showcase of how majestic Zimbabwean music is. And how dope our fashion is, too.
Ulenni Okandlovu performing at TOTC Live! with Southern Hemis Co. [Image: Rodney Badza/Baobab Media]
The TOTC Live! concert was a proper celebration of experimental sounds. I am obsessed with anything that blends multifarious music elements to birth something more elegant, more original. And TOTC Live! was the haven for this. Ulenni and his newly launched project Southern Hemis Co. delivered a spectacular show, one that remains etched solidly in the psyche. The event marked the debut of Southern Hemis Co., which is Ulenni’s new artistic project in its infancy but now taking off. It is Ulenni’s new lifestyle brand that makes fashion, music, and a whole lot of other cool creative stuff (for the purposes of this TOTC Live! review, we are dealing with the music wing of Southern Hemis Co.). Southern Hemis Co. collaborates with various artists who feature as part of a project-based band. So the concert was more of the launch of TOTC Live! as an event in its own right as well the launch of Southern Hemis Co.—and the latter proved that there is nothing that beats authentic artistry.
Soaking in the cool vibe [Image: Rodney Badza/Baobab Media]
On a day marked with palpable anticipation for the small but highly engaged crowd in attendance, the sonic odyssey of the day was first orchestrated by Tinofireyi Zhou, who opened the show with inimitable music intelligence that left me in awe. Let’s just say he is a walking music library; exhibiting enviable music knowledge that both brings your body to dance as well as compelling you to be a music geek. Tinofireyi Zhou’s skills as a disc jockey are unorthodox, an approach that exudes an intellectual touch and spiritual fervour. He exclusively played his set from vinyl records (and this was my first time in my life experiencing a DJ set that’s played from vinyl records, and it was such a wholesome vibe).
Zhou was less of a DJ and more of a temporal cartographer, selecting music that served as a portal to transport us through different eras and influences. (I had a brief conversation with him from which I learned I was conversing with an understated arts guru.) Sounds from Fela Kuti and Zimbabwe Legit blended well with the relaxed and convivial atmosphere of the day.Vimbeby Mokoomba made me realise Zimbabwean music is superior. Tinofireyi’s set also had gems like Ngozi Family’sNizakupanga Ngzo(aye, whatchu know ’bout 70s Zambian rock?),Watch Out!by Wells Fargo,Social Illsby Godessa, M’DU’sNumber Number, and Chiwoniso’sZvichapera. The selection was well-thought. With each spin, he demonstrated a powerful reverence for music, treating it as a sacred entity whose intelligence transcends time, a sublime feeling that lingered long after his set concluded.
After Tinofireyi Zhou’s set came a brilliant performance by RnB and Pop songstress Kyla Blac, and I felt there was a touch of excellence particularly with her vocal delivery. Kyla Blac’s voice is rivalled by few in this country. Her infectious energy and radiant presence hugged us comfortably, as we paid keen attention to her songs. She opened with Aaliyah’sTry Againand it was more than a cover as it showcased her unparalleled vocal talent.Her impeccable control was extended as she dug into her own repertoire, performingDND,Someday, andEnergy. What I found interesting about her approach was her willingness to immediately connect with the audience.
Kyla Blac [Image: Rodney Badza/Baobab Media]
And even though Kyla Blac is still far from being a mainstay in Zimbabwe’s RnB and Pop spaces, there can be no doubt she possesses one of the most outstanding voices. While her journey to mass appeal is a protracted process, her command of the stage suggests that she is currently using these intimate settings as a vital training ground to perfect her already impeccable craft.
Ulenni getting the stage ready [Image: Rodney Badza/Baobab Media]
Then came the grand finale, what everyone had gathered for—the performance by Ulenni Okandlovu and Southern Hemis Co. As a first-time witness to his live performance (it was also the first time seeing some of the band members I knew already,viz.Thando Mlambo and Serpant, perform live), I can attest that Ulenni exudes an ethereal presence that can only be understood by experiencing his art in person. And I want this to be unequivocally clear: this is not an understatement. Everything about that performance was celestial. It embodies the elemental concept of mastery—plenty hours spent in the studio rehearsing. And the performance came out so smooth that you wished it never ended. With some members of his Bantu Spaceships band in tow, the performance was a tour de force of sonic experimentation and authentic expression.
Thando and Serpant [Image: Rodney Badza/Baobab Media]
Source: ZimSphere
Source: ZimSphere
