‘Nkadangokhudza’ and the reappearance of Lloyd Phiri

Reviewed by Emmanuel Luciano
Lloyd Phiri was one of the hottest gospel properties in the early 2000s before he went into self-incarceration in the United Kingdom. His debut album, Musagwedezeke, released in 2001, had the hit song Afuna Ulape that shook the edifice of the country’s gospel music to its core foundation.
Then there came Ndagwiritsa in 2003, whose Sitimasilira za Chikunja, was on the lips of all and sundry of the gospel music’s calling.
But that was about all we heard about the music of Lloyd Phiri. His brief absence, on the positive note, also allowed other artists to emerge.
The artist recently returned from exile and decided to re-launch his gospel career with a latest nine-track album, Nkadangokhudza.
Some of the songs in this album are drawn from biblical anecdotes. Chotsa Malonda (for the benefit of those who don’t know the Bible and those who belong to faiths other than Christianity) is taken the verse where Jesus is chasing the traders in the temple, saying:”…My house should be called a place of worship but you have turned it into a place where robbers hide.” (Mark 11.15-19.)
The title-track, Nkadongokhudza, proclaims the essence of having faith like the biblical lady who was sick for 12 years but was healed after touching Jesus’ clothes.
The song is somewhat appropriately rendered, but the originality of the artist is put to test because of the South African gospel beat that has been employed to accompany it.
Not only is the beat South African but the manner in which vocals are done is very much South African gospel music. Another good song that has been marred by the South African rhythm is Simfuna Zamasewera. Iwe bwera would remind many a listener of Afuna Ulape in terms of its rendition. Though these are not basically praise and worship songs thematically, the artist has included Worship Medley as a praise song.
If the Malawian gospel music is defined by the elements of South African gospel music that it incorporates, then well and good for our gospel music. But how should it be called Malawian gospel music when it sounds more South African? Save us the tired argument this time that the language of gospel music is universal.
Those who have time to follow the genesis of South African gospel music would testify that when Zionist Christian movements were spreading in the early part of
20th Century, they integrated South African musical elements into their worship, leading to the invention of South African gospel music forms (See Wikipedia Free Encyclopaedia).
The question that still remains unanswered, though, is what constitutes Malawian gospel music if everybody resorted to the South African Rhythm?
Lloyd Phiri might still be nursing a hangover of staying overseas but that is a question that he needs to muse over if he is to change the landscape of Malawian gospel music.
Recorded at Llohay Sound Control, the album is available for sale in all musical outlets.