Lusaka: Artists and music fans from around the world have been rediscovering the 1970s sound of Zambia, known as Zamrock, in recent years, and now one of the country’s biggest stars is embracing it, hoping to give it a fresh twist. When devising her third studio album, Sampa the Great looked to this niche musical movement that ignited her birth country more than 50 years ago.
According to BBC, the Zambian-born, Botswanan-raised rapper, who has performed at major venues like Glastonbury, Coachella, and the Sydney Opera House, expressed her connection to this genre. “We were looking for a sound and a voice that was so post-colonial. And Zamrock was that sound – that sound of new freedom, that sound of boldness,” Sampa told the BBC.
Zamrock, with its heady blend of psychedelic rock and traditional Zambian sounds, makes a prominent appearance on “Can’t Hold Us,” the first single from Sampa’s upcoming album. Fuzz guitars propel the song forward as Sampa, whose full name is Sampa Tembo, defiantly raps, “They don’t have the guts to match my prowess.”
Sampa is not alone in her rediscovery of Zamrock. In recent years, U.S. artists like Travis Scott, Yves Tumor, and Tyler, the Creator have sampled tracks from iconic 1970s Zamrock bands such as Ngozi Family, Amanaz, and WITCH. The genre has also found its way into popular media, with HBO’s superhero series “Watchmen” and the Emmy-winning “Ted Lasso” incorporating Zamrock songs into their soundtracks.
The resurgence of Zamrock is unexpected, considering that during its heyday, the genre never really left the African continent. It emerged in the 1970s in a post-colonial Zambia, a time when the nation was experiencing an economic boom and a cultural renaissance under President Kenneth Kaunda’s “Zambia first” policy. This policy mandated that 95% of the music played by radio stations had to be of Zambian origin, laying the groundwork for a distinctly Zambian musical identity.
Despite the lack of advanced recording studios and a formal music industry in Zambia during the 1970s, Zamrock thrived. Bands like WITCH captivated audiences with their eclectic performances, characterized by bell-bottom jeans, platform shoes, and marathon shows. Emmanuel Chanda, WITCH’s frontman, recalls the influence of Western rock bands and the desire to incorporate an African essence into their music.
Zamrock’s initial rise was short-lived, however. Economic decline, musical piracy, and the devastating impact of the HIV/AIDS crisis in the 1980s led to the genre’s dormancy. Many of its founding musicians, including five members of WITCH, succumbed to AIDS, while others, like Jagari, took on civilian jobs to support their families.
The revival of Zamrock in the early 2010s was sparked by the interest of Western record collectors and labels like Now-Again Records, which began reissuing albums from the genre’s heyday. This renewed interest led to a rebirth of WITCH and a global tour, allowing the band to perform outside Africa for the first time.
The resurgence of interest in Zamrock has been accompanied by a growing appreciation for its exuberance and authenticity. While some Western artists and producers have sampled Zamrock tracks, there is a concern about preserving the genre’s origins and significance. Sampa the Great emphasizes the importance of recognizing Zamrock beyond mere samples, ensuring that its rich history and cultural roots are not overlooked.
In Zambia, the genre is experiencing a renaissance, with young artists experimenting with Zamrock’s unique sound. Events like the annual Zamrock Festival and a dedicated museum at Lusaka’s Modzi Arts institution further celebrate the genre’s legacy.
Sampa’s upcoming album, which she describes as “nu Zamrock,” promises to blend the genre’s rhythms with other influences like hip-hop. She believes that Zamrock’s resurgence will be significant, and her work aims to keep the flames of this unique musical movement burning bright.
Jagari, now 74, is thrilled to see the younger generation embrace the genre he helped create. “The fire has been lit,” he says. “It’s up to the younger generation to put more firewood to it and let the flames burn.”