Her music achieves a perfect balance of artistry and ministry, writes Ace Moloi.
When we as an arts journalism platform aspired to be an authoritative voice for Free State artists, we dedicated ourselves to being in the forefront of artistic storytelling. In practice, of course, it’s impossible to know every artist with a mixtape or sad poem. Our focus, therefore, stayed on the artists that pass the threshold of provincial fame to establish themselves as national contenders. Basically, ours is not to dig up hidden gems. We, instead, tell on the artists who defy the province’s structural and political incompetencies to fulfil their fundamental function of producing art.
Few artists have matched our vision like Sasolburg-based Mphaki Nkoli, a currently trending gospel artist on her way to musical stardom with her debut offering, “Ke Mohau/Maleme A Sekete”.
As fierce debate raged on about which song should have ushered us into the new year on radio, Mphaki landed like a wrecking ball with a smashing hit that became the new talk-of-town. Divinely timed for the first day in the new year, the song aspired to, and with time succeeded in, becoming a gratitude anthem for the new season. Like the album from which it was pulled, “Ke Mohau” redirected our gaze away from life’s struggles onto the goodness of the Lord, expanding our vocabulary of thanksgiving.
The single delivered sweet results as a teaser to the album, making it potentially the most anticipated project by a Free State gospel artist in recent years. “We’re looking to release my album before Easter. The message is gratitude. The album also contains hymns. It is very diverse, not limited to contemporary gospel,” Mphaki reveals.
Shortly after its release, the soothing hit accumulated thousands of authentic streams across platforms, including being used as a sound by hundreds of TikTok users. Mphaki was also invited on Lesedi FM’s afternoon drive, a major co-sign for a newcomer.
Contrary to the glamourous appeal of Instagram stories, TikTok videos and now-playing Apple Music screenshots, Mphaki’s breakthrough didn’t happen overnight. But as she battled loss, abandonment, grief and industry gatekeeping, a fresh and unsung melody was brewing in her heart. Hers, therefore, is a ministry anchored on the solid ground of total surrender to, and dependence on, Christ.
Mphaki reflects, “I lost my mother when I was in high school, to a point where I was chased out of my mom’s house…I experienced so much rejection not only in my family but even in the music industry. When you hear my album talking about gratitude, it’s because I was supposed to be homeless, probably get raped or killed. But the grace of God said no. Hence I am so grateful.”
At the height of the COVID-19 pandemic, which hit creatives very hard due to lockdown regulations, the proud wife and mother began reimagining her career path beyond being a backing vocalist. The lockdown solitude that triggered mental blackouts to many people worldwide afforded her a unique moment of contemplation away from riffs and runs, and – together with her husband – mapped out a new solo path for her.
To introduce Mphaki the artist, they conceptualised #coversofhonour, a Facebook series of cover songs by artists that impacted Mphaki’s life indelibly since she started singing gospel at the age of 16. “When we went on national lockdown, all was well until I ran out of food and that’s when I realised that I survived through gigs. I therefore took it upon myself to honour every artist who booked me since I lost my mother. Those artists literally became my parents, and it took a lockdown for me to realise their impact,” said her Facebook caption then.
In the background, Mphaki was able to glean insights from various artists, study the industry and refine her voice. Her pursuit of excellence got her a nomination at the Free State Gospel Music Awards (Best Backing Vocalist), her first industry nod for a singing journey that began when she was in Grade 1 in her primary school choir, and shaped up in high school as she populated her school’s cabinet with awards for her classical, choral and opera solo renditions.
In 2024, Mphaki had her first gig on a recording when she featured on Free State Praise and Worship Explosion Volume 2, a spin-off of the Free State Gospel Music Awards. There, she sang “Kea Leboha”, her very first composition. In that career defining moment, all the years of relative unimportance behind the mic stands, as well as the long hours of aloneness listening to and lyrically translating the voice of God into melodies, held space for her. Her unassuming yet striking look – black pants and a green top matching with her shoes and earrings – told a story of a destiny finally unlocked. And unleashed she has since been, a bride worth all the wait.
On 23 November 2024, as Mphaki stood with anointed elegance inside the Thembalethu Hall for the live recording of her first album, she was making a new statement. Multitudes were in attendance, filling the room with a glorious outpouring. Her community that had been touching and agreeing for her big break surrounded her, immersed in deep worship and joyful praise, their hearts bearing witness to the ageless truth that God makes everything beautiful in its time.
Patience!
“If you are a young person, note that your dreams are valid. God has all of them covered. Do not sell your soul for anything. Just be patient. It will surely come to pass,” she advises.
Mphaki’s explosive reception in the industry was a result of God’s faithfulness and a product of collaborative effort with her team, under the visionary stewardship of Peace Nkoli. “We employed one of the best producers in the province, Bongani Mculo. He did wonders in directing and producing the song. In addition, beautiful music becomes a bit compromised if the mixing is poor. So, our mixing and mastering engineer [Nathi Banda]…made the song to stand out,” she shares her winning formula, which included her whole team praying and fasting for the project.
A prominent businessman told me on the sidelines of his popular festival that when he reached out to the Free State department of arts and culture for a list of recommended local artists to book, he felt he was given “people who only sing in the shower”—underdeveloped if not undeveloped, unprepared for the platform he has created. He argued that by failing to incubate local talent, the department was making things difficult for promoters like him who only worked with artists that meet and pass the threshold. Elsewhere, former premier Mxolisi Dukwana expressed a similar view about the role of Macufe in empowering artists.
Clearly, there’s consensus that not everyone who says ‘artist, artist’ will enter the kingdom (Matthew 7:21). It’s only the ones who invest in their craft, consistently connect with their market and make new music shall be invited to ‘Sparklepalooza’.
A songbird with heart-stirring vocals, Mphaki Nkoli is the kind of artist the province must produce. Her imminent rise is a perfect blend of artistry and ministry. Her sound is as much nourishing to the soul as it is competitive, going pound for pound with her contemporaries in the marketplace. And for that and more, she never stops praising God, from whom all her blessings flow.
Ace Moloi is a Johannesburg-based award-winning writer, author and communicator.
