in , ,

Msaki to join Africa Now Radio with LootLove on Apple Music 1

Photo: Courtesy of Apple Music

This week’s episode features a conversation with Msaki, the 5 Hottest Tracks of the Week, Africa Rising and LootLove’s Favourite Track of the Week!

Tune in to Africa Now Radio with LootLove this Sunday, November 21 at 2 PM London/3 PM Lagos/Paris/4PM Johannesburg/6AM LA/9AM NYC on Apple


Photo: Courtesy of Apple Music

Cover Star Interview

South African singer-songwriter and multi-talented creative Msaki joins LootLove via FaceTime on Apple Music 1 to talk about her latest collaboration with Sun-El Musician & Diplo, “Tomorrow Silver.” She also discusses her two new albums, Platinumb Heart Beating and Platinumb Heart Open, and how working on two albums simultaneously helped her tackle themes of love and of protest, how her sound has evolved, and how she found her place in the world of electronic music.

The Big 5

LootLove shares the 5 hottest new African tracks of the moment. This week’s selection includes new tracks from Davido & Focalistic; Kizz Daniel; Djodje; KiddBlack, Blak Sherif & DJ FortuneDJ; and Kabza De Small & DJ Maphorisa featuring Ami Faku.

Africa Rising

South African R&B singer-songwriter Filah Lah Lah—Apple Music’s latest Up Next: South Africa cover star—is the latest artist featured from the Africa Rising playlist, a campaign that shines a light on the next generation of African superstars, and this week’s show features her two singles, ‘Real Love’ and ‘This Is’.

Loot Loves

Each week, LootLove chooses her favourite track, taken from one of Apple Music’s African playlists. This week, she features Ghanaian singer-songwriter Gyakie and her single, ‘Need Me’, from Apple Music’s Ghana Bounce playlist.


Msaki explains the five-year wait since her last album

Today I know why you take five years in between the albums! I’m exhausted, I’m spent, I’m completely shattered, I’m tired in the best way. I’ve poured out everything that I can actually give away right now, so I’m okay with the fact that some of the things I have to say do for a little bit longer, and the fact that I tried a lot of my work in front of people, and then I made it morph, and then I start again, and then I recalibrate emotionally what I want to say. Five years is actually just enough time to do that, in a way that makes sense to me and the things that I’ve been processing.

Msaki on why two albums made sense for her right now

I started writing the first song on this project because of the platinum belt. I’m actually not so far from Rustenburg right now, Marikana is a couple [of] kilometres away from where I am right now. That’s the first song I wrote as the rest response to what was going on in South Africa at the time, in absolute shock. As a person who grew up in a supposed rainbow nation and a hopeful tomorrow, that was a heartbreak[ing] moment for me, so every song since then has been an attempt to understand the political and historical and this neo-colonial capitalist world we’re living in. I was feeling it on a personal level, but also just trying to work through the songs, as questions like, how are we still here?

Msaki on how she came to make a House album

A lot of the collaborators, especially the producers from the house world, they were just return favours—I had been able to be on their projects, and when they heard that I was making an album, a lot of them assumed I was making house and sent me stuff.

At the beginning, I wasn’t making a House album at all. It just started happening where I found myself trying to split myself. “When am I going to release this?” I had this combination of these songs that we’re building, but I had been working on this like dramatic orchestral Folk work, that was serious, that was protest [music], so it morphed into so many things over the years that I’ve been working on it but in the last year, I was like, why not say something as an electronic musician myself?


Written by GRUNGECAKE

All posts written under this username are created by entertainment publicists, staff writers and authors, interns and guest contributors, and edited by Richardine Bartee.