Tag: gqom

Spotify’s Mother of Music Campaign Celebrates the City’s Unmistakable Sound and Culture

August 1, 2025

Over the past six weeks, Spotify’s been in the vibrant city of Durban in the province of KwaZulu-Natal, South Africa, for our annual Mother of Music (MOM) event. We’ve celebrated the rich creative culture surrounding the Durban-born genre Gqom, along with Amapiano and Kwaito music—uniquely South African genres that have significantly shaped the trajectory of African music at large and captured the attention of fans worldwide.

From Umqhumos (a South African taxi Gqom-blasting experience complete with local dancers) to Durban nightlife photography exhibitions at the MOM Spirit Home at Hue Cafe in Berea, we’ve hosted a number of events that attracted music fans across Durban. The festivities put some of Durban’s foundational music figures in the spotlight, like dancer, Gqom MC, radio host, and media personality TDK Macassette; prominent Afro-house DJ, producer, and radio host DJ LESOUL; hip-hop and soul king Asvnte; and rising Gqom star DJ Cndo, while featuring collaborations with local streetwear brands like Richmanskyf, Refuse, and Elizabeth Dust, celebrating the visual and kinetic energy that defines Durban.

“Gqom is more than a genre,” said Phiona Okumu, Spotify’s Head of Music in sub-Saharan Africa. “It’s a movement. And it started here. MOM gives us a chance to honor Gqom’s roots, spotlight the artists, and fuel its next chapter.”

The triple threat: Gqom, Amapiano, and Kwaito

Bred in Durban’s underground scenes, Gqom found its footing around 2009. The city’s minibus taxis became an integral part of Gqom culture, playing host to dance battles and giving commuters a place to share and rate the latest tracks. The vibrant Bhenga dance culture emerged soon thereafter, with expressive moves that feature wavy arms, toe-tapping, wobbly knees, and intricate footwork. 

With its raw, hypnotic sound born in the backrooms of KwaMashu, Gqom has seen a truly meteoric rise: Spotify recorded a staggering 5,732% growth in global Gqom streams since 2018. Check out the top 10 global Gqom hits:

    1. “Ama Gear” by Dlala Thukzin, Funky Qla, MK Productions, and Zee Nxumalo
    2. “Ngeke” by Big Nuz and Dj Yamza
    3. “Omunye” by Benny Maverick, Distruction Boyz, and Dladla Mshunqisi
    4. “John Cena” by Sho Madjozi
    5. “Hade Boss” by DJ Lag, K.C Driller, and Mr Nation Thingz
    6. “Sohlala Sisonke” by  Dlala Thukzin, MK Productions, and Zeh McGeba
    7. “Banomoya” by Busiswa, Prince Kaybee, and TNS
    8. “Midnight Starring” by Busiswa, DJ Maphorisa, DJ Tira, Distruction Boyz, Moonchild Sanelly, and Rude Boyz
    9. “Ngibambeni” by Mxolisi Khumalo, YANII
    10. “Eyadini” by Dason, Manqonqo, and Saviour Gee

While Amapiano has found worldwide appeal, Durban artists have infused the genre with a unique, gritty, and soulful flavor. It’s a sound deeply influenced by the city’s Gqom roots, born from township ingenuity and a distinct local vibe. This is the music of artists like Dlala Thukzin, MaWhoo, Distruction Boyz, and Rudeboyz, who are carrying the torch passed down by their house and Kwaito forebears.

Amapiano’s rise is nearly incomprehensible, with an explosive 114,377% growth in global streams between 2018 and 2024. The top 10 Amapiano tunes globally and their makers are:

    1. “Imithandazo (feat. Young Stunna, DJ Maphorisa, Sizwe Alakine & Umthakathi Kush)” by DJ Maphorisa, Kabza De Small, Mthunzi, Sizwe Alakine, Umthakathi Kush, and Young Stunna
    2. “Mnike” by Ceeka RSA, DJ Maphorisa, Nandipha808, Tumelo_za, Tyler ICU, and Tyrone Dee
    3. “Awukhuzeki” by DJ Stokie, Omit ST, Sobzeen, and Zee_nhle
    4. “Masithokoze” by DJ Stokie, and Eemoh
    5. “Imnandi lento” by Mellow & Sleazy, SjavasDaDeejay, TitoM, and Tman Xpress
    6. “Izenzo” by Aymos, Bassie, and T-Man SA
    7. “Mina Nawe” by Emotionz DJ, Happy Jazzman, Mashudu, and Soa Mattrix
    8. “Keneilwe” by Dalom Kids, Master KG, Nkosazana Daughter, and Wanitwa Mos
    9. “SETE” by Blxckie, K.O, and Young Stunna
    10. “Sukakude” by Babalwa M, Kelvin Momo, and Sfarzo Rtee

Kwaito’s 9,820% rise since 2018 is also staggering. The hottest Kwaito songs on the global charts are:

    1. “Lento” by Professor and Speedy
    2. “Khona” by Mafikizolo and Uhuru
    3. “Nkalakatha” by Mandoza
    4. “Magasman” by Lebo Mathosa and Trompies
    5. “Sister Bethina” by Mgarimbe
    6. “Ngomhla Wosindiso – 2014” by Zola
    7. “Live My Life” by Winnie Khumalo
    8. “Sweety Lavo” by Copperhead, OSKIDO, and Trompies
    9. “Be There” by Big Nuz, DJ Ganyani, and MLU
    10. “Umdlwembe” by Zola

Through Mother of Music, we are reaffirming our commitment to telling local stories that have global resonance. With Gqom, Durban built a genre that shook the world, and the world is still dancing.

Stream our MOM playlist on Spotify.

Amapiano, Kwaito, Gqom, and House/Dance: Four South African Genres That Tell the Story of Freedom

April 26, 2022

speaker blasts music, shown with colors

A country’s history is often told through its arts and culture—and especially its music. The story of South Africa is no different. Twenty-eight years ago, apartheid ended and all South Africans became able to vote in the country’s first nonracial national elections, a day that is now celebrated in the country as Freedom Day. And from that first Freedom Day to this year’s, music has remained an enduring marker of struggle, unity, and perseverance for South Africans. 

The end of apartheid collided head-on with the rise of Kwaito, a genre known for catchy melodic and percussive loop samples, deep bass lines, and distinctive vocals. Its name comes from the Afrikaans word kwaai (meaning “angry”), and it was spearheaded by the likes of Oscar “Oskido” Mdlongwa, who took inspiration from international house music beats, slowing them down and infusing them with local genres and township slang. By the early 2000s, Kwaito was undeniably entrenched as the sound of South Africa’s streets, with hits like Mandoza’s “Nkalakatha” crossing racial lines. 

According to Spotify data from the last three months, the sounds of Kwaito continue to resound both locally and internationally. Over the past 90 days, the genre was streamed as far and wide as the U.K., the U.S., Germany, and Australia, with music lovers between the ages of 18 and 44 all listening to the genre in equal measure.

Infographic on the genre "Kwaito" shows that the notable countries for listening are Germany and Australia. Top 5 Kwaito songs and artists are mentioned

Just as Kwaito emerged in tandem with the fall of apartheid, a new sound of South Africa’s streets debuted commercially right before the 2020 pandemic: Amapiano. But it’s not only the favorite of South Africans—our data points to music lovers around the world streaming the genre en masse.  

Over the past 90 days, South Africa–based music lovers led Amapiano listens and generated a whopping 149 million streams of tracks in the genre on Spotify. Combined listeners in the U.K., U.S., Canada, the Netherlands, and France generated streams reaching 42 million while streams generated in Nigeria, Botswana, Kenya, and Namibia came up to 16 million. In total, the top 10 countries streaming Amapiano over the past three months produced a total of 207 million streams.

Infographic on the genre "Amapiano" shows that the notable countries for listening are Nigeria and Botswana. Top 5 Amapiano songs and artists are mentioned

Unlike the postapartheid genre Kwaito, the content of Amapiano tends to be more aspirational. The top-performing Amapiano song on Spotify in the last 90 days—“Paris” by Afriikan Papi, Q-Mark, and TpZee—is a love song in which the singer of the hook promises to take the love of his life to Paris the day they get married—something likely unattainable for many at the time of apartheid’s fall and Kwaito’s emergence. In the same breath, “Adiwele” by Young Stunna, which features DJ Maphorisa and Kabza De Small (the top two Amapiano artists over the past 90 days), is an inspirational anthem about breaking through and making it in life.

Genres that emerged in the time between Kwaito and Amapiano, though, such as House/Dance and Gqom have also received recognition to varying degrees inside and outside of South Africa. Gqom is a genre of electronic dance music developed from Kwaito that surfaced in the early 2010s in Durban.

And while the rise of Amapiano might lead one to believe that these genres are out of vogue, Spotify data points to the fact that the impact of these genres still reverberates among the age band of 18–29. Two-thirds of Gqom streams and 64% of House/Dance streams over the past 90 days can be attributed to this age group within South Africa thanks to House/Dance artists like Black Coffee, MasterKG, Sun-El Musician, and Zakes Bantwini.  

Infographic on the genre "Gqom" shows that the notable countries for listening are Canada and Germany. Top 5 GQOM songs and artists are mentioned

Infographic on the genre "House/Dance" shows that the notable countries for listening are Germany and Netherlands. Top 5 House/Dance songs and artists are mentioned

In the 28 years that have gone by since South Africa celebrated its first Freedom Day, much of life in the country has changed, but the stories surrounding South Africans’ lives continue to unfold. And the soundtracks to the nation’s vibrant streets will continue to serve as musical witnesses, both in the country and beyond. 

Celebrate South Africa’s Freedom Day with the “Sounds of Freedom” from across these pivotal genres.

 

Charting the Meteoric Rise of South Africa’s AmaPiano

October 2, 2019

During the early days of its popularity in 2016, AmaPiano, the uniquely South African take on house music, circulated via low-quality file shares on messaging apps and online forums. Developed by bedroom producers with limited resources, the music spread from phone to phone faster than anyone expected; by early 2019, you couldn’t walk through the streets of South Africa without hearing AmaPiano’s sunny melodies seeping into the air from car windows and phone speakers

“If you put one hundred guys in a room and you asked them where [AmaPiano] started, you’ll get one hundred answers and some very heated debates,” said Siphiwe Ngwenya, cofounder of Born in Soweto, a homegrown label that’s backed AmaPiano since its early days. 

Indeed, tracing the AmaPiano sound back to a single artist (or 10 for that matter) is almost impossible. The list of producers attached to AmaPiano reads like a small town’s phone directory, a byproduct of a movement that developed in the annals of the internet. Still, in the three years the genre’s been around, artists like Kabza de Small and Mfr Souls have emerged as key players, inspiring a new crop of DIY beatmakers and DJs. 

The genre’s popularity with bedroom producers may also have something to do with its well-established sonic lineage. AmaPiano’s sound is somewhat, though not entirely, influenced by kwaito—a midtempo, lyrically rich brew of R&B, hip-hop, and house that emerged from Gaunteng in the ’90s. Both genres combine the drum patterns and basslines of their 4/4 cousins, but AmaPiano carries a cheery brightness—characterized by jazz-inflected keys, eager vocal cuts, and organ licks constructed over a laid-back 115 bpm framework—that kwaito lacks. 

South African DJ and radio host DJ Da Kruk attributes the success of AmaPiano to a wider DJ culture. “The AmaPiano movement has a huge mixtape culture attached to it, which I think was a vehicle to move new music from one ear to the next while promoting your DJ skills and mixing capabilities.” Da Kruk has been on the scene for years and hosts his own radio show dedicated to AmaPiano. He’s watched it balloon into a movement, as has Miz Dee—a DJ and one of the leading female figures in South Africa’s dance community. Throughout her career, she’s witnessed the trends in dance music change from the early days of Afro house to the more recent techno-leaning gqom. 

“AmaPiano is now by far the most talked about and the most relevant house music genre in South Africa,” Miz Dee told For the Record. “It’s a culture of its own.” And the genre isn’t contained within the borders of one country anymore. Its influence is spreading like ink in water to Botswana, Namibia, Lesotho, Swaziland, and Zimbabwe. 

Now, it doesn’t matter what city you’re in or club you’re going to. Everyone seemingly responds to AmaPiano’s shimmering sound, and Da Kruk believes in its inclusivity. “I was fortunate to see the impact of kwaito music and what it meant for the then-young democracy that South Africa was. It became the voice of local youth to push for systematic change and fight the exclusion of the marginalized. I can’t help but think that AmaPiano is doing just that so far for this generation of young South Africans, and I can’t wait to see how many more boundaries it’ll break.”

Maybe it was the unique yet accessible sound of AmaPiano that drew throngs to its beats, or the influence of social media. Maybe it was the sheer output of new songs—a veritable deluge—that never allowed attention to falter. Whatever the reason, AmaPiano isn’t going anywhere. It has transformed into a culture with its own festivals, club nights, and (specifically in Mznasi) its own form of dance.

Check out AmaPiano Grooves—Spotify’s recently launched playlist—for a celebratory crash course in South Africa’s homegrown brand of house.