EDINBURGH REVIEW 2007
“... a truly otherworldly sound that literally takes the breath away ...dazzling”
SEATTLE REVIEW 2007
“Soweto
choir is a master of spectacle”
CANADA REVIEW 2007
“Soweto Choir offers
glorious gospel revival”
AUSTRALIA REVIEW 2007
“Vibrant, radiant, majestic...inspired and
inspiring music, boldly performed  ”
GERMANY REVIEW
Review from 2006 Germany Tour:
NETHERLANDS REVIEW
Review from 2006 Netherlands Tour:
SOUTH AFRICA REVIEWS
“South Africa's finest live up to Grammy billing”
Tabelo Timse, EP Herald 19/09/07
“Taking your senses by storm”
26/09/07
“A spectacular show of song
and dance….it is a night to cherish”
“The exuberant energy, the glorious interpretations of familiar
songs, and the spectacular voices all contribute to the magic of the
night”
“They’re simply the best”
Diane De Beer, The Star Tonight 19/04/06
“Gospel sensation”
“The international sensation, SGC, fresh from their world tour,
dazzled the audience during their performance at the Joburg Civic Theatre”
Daily Sun, 19/04/06
BLESSED
ARE THOSE WHO HEAR THIS CHOIR
Venue: The Nelson Mandel Theatre at Johannesburg Civic Theatre
By: Diane De Beer
“Blessed, the second show in this choir’s repertoire, was
specifically created to celebrate and mark 10 years of democracy in
South Africa. The production is about remembering the past and looking
ahead to the future.
And if you don’t understand most of the lyrics because of the
different languages, it makes no difference. It’s the music, the
songs and the performers that do the talking. The energy and enthusiasm
of the choir in full force is something extraordinary and there’s
no better way to celebrate everything we have achieved in this fledgling
country of ours.
Reflecting back on a little more than a decade in time, it was astonishing
to witness the mixed audience respond as one nation with such abandon
to the final encore, Oh Happy Day. And it was glorious to bask in everything
we have achieved in so little time.
Even though the choir was created for international audiences and tours
outside of the country more often than not, performing at home takes
on a different meaning. This is all about showing off and sharing their
wonderful talent with their own people. And how can one possibly resist?
In a spectacular show of song and dance with individual performances
in both media, the programme is masterfully varied as it moves between
different rhythms and moods in the gospel genre. It is a night to cherish
with a show that is brilliantly put together and executed and yet has
retained a spontaneity because of the individual personalities that
shine through in this amazingly cohesive group. The colourful costumes,
the dancing that is fully integrated with the singing, the exuberant
energy , the glorious interpretations of familiar songs, and the spectacular
voices all contribute to the magic of the night. It is a choir that
is proudly South African as they embrace their own. This is our people
performing our music, and they’re simply the best”.
UK REVIEWS
“The
Soweto Gospel Choir is truly inspirational, but that’s not the
reason they deserve five stars. Those are simply for a flawless performance”
The Scotsman (13/08/04) >
READ FULL REVIEW
“If only my shares rose like
the goosebumps on my arms when I heard the Soweto Gospel
Choir – I’d be rich faster than you can say sing”
The Birmingham News, UK (14/10/04)
“Message
to anyone who left The Marlowe unmoved
on Monday night. See a doctor. You need help!”
Kentish Express Hythe & Romney
Marsh, UK (14/10/04)
“A
concert that dares you not to return the participants’ smiles”
The Herald, Scotland (11/08/03) >
READ FULL REVIEW
“Nothing
can really prepare you for the riot of exuberance and depth of emotion”
The Scotsman (06/08/03)
“You don’t have to be a believer to be inspired”
Sunday Herald, Scotland (10/08/03)
"The
Soweto Gospel Choir is wonderful !!! You have never seen or heard such
infectious joy - guaranteed!!"
Brian May of QUEEN
"What a joyful experience it was working with such a wonderful
gifted choir"
Roger Taylor of QUEEN
“
Nothing can really prepare you for the riot of exuberance and depth of
emotion”
 The
Scotsman (06/08/03)
> READ FULL REVIEW
“You don’t have to be a believer to be inspired”
Sunday Herald, Scotland (10/08/03) >
READ FULL REVIEW
“A concert that dares you not to return the participants’
smiles”
The Herald, Scotland (11/08/03) >
READ FULL REVIEW
“Moving and Inspirational”
Evening News, Edinburgh (14/08/03) >
READ FULL REVIEW
“Amassed voices are victorious”
The List, Scotland (21/08/03) >
READ FULL REVIEW
“Top five Picks”
The Independent (04/08/03)
“Critics Choice”
The Times (13/08/03 and 19/08/03)
"Critics Choice”
Edinburgh Evening News (19/08/03)
“The Top 20”
The List (21/08/03)
“Official Top Ten”
Metro Fringe Box Office
Colour
and dynamism are the calling cards or the Soweto Gospel Choir, who have
swiftly made a splash on this first visit to Europe. A cappella groups
Ladysmith Black Mambazo and Black Umfolosi have already cracked open
the western market for indigenous South African song but nothing can
really prepare you for the riot of exuberance and depth of emotion emanating
from this 24-piece ensemble. St George’s can barely contain such
presence – even their multi-coloured traditional costumes shout
out their heritage.
This is a seamless show brimming with spot-on multi-lingual performances
which, for all the technical precision, are universally expressive and
unfettered, charged by the choir’s constant movement. Individual
members show off athletic dance moves and solo vocal skills, showcasing
a vibrant range of voices from the strident and commanding to the child-like
an pleading. The momentum never sags – even the more mellifluous
material undulates gracefully… Their exotic South African spirituals
are interspersed with other popular songs, including Jimmy Cliff’s
Many Rivers to Cross, but throughout their performance another Cliff
track sprang to mind as an appropriate theme tune: Wonderful World,
Beautiful People.
“
You don’t have to be a believer to be inspired by the Soweto Gospel
Choir: an appreciation of superb singing is all that is required. The
24-strong line-up, decked out in vividly coloured traditional attire,
perform a headily uplifting mix of traditional African gospel with popular
borrowings such as Amazing Grace and Jimmy Cliff’s Many Rivers
to Cross. The songs are accompanied by djembe rhythms and, for added
visual impact, a range of simple but energetic dance moves. Most numbers
feature one or two lead vocalists in performances of joyously soaring
fervour, backed by up by a swelling tide of choral harmonies. And with
the venue already full to bursting just a few days into their run, the
good news about this show is clearly spreading fast”
Ministers
of the cloth will be forgiven for breaking the Eleventh Commandment
– thou shall not covet thy neighbour’s congregation –
as they see the crowds snaking round from St George’s and heading
for Queensferry Street. But they’d be better sharing in the Soweto
Gospel Choir’s spiritual warmth than wringing their hands because
an hour in this vibrant musical kaleidoscope’s company is a fillip
to the soul whatever your beliefs.
To the keening sound of one voice’s call to prayer and accompanying
djembe drummer’s pulse, the choir emerges and proceeds to sing,
dance and drum its message of optimism. This from a country which, to
say the least, hasn’t had and continues not to have its troubles
to seek can be tremendously humbling. The unquestionable joy and conviction
of each chorister, though, whether in taking turns at solo, duo and
quartet songs, displaying energetic physical rituals or forming the
swaying, richly chordal choral backdrop, concentrates the mind on the
onstage activity.
Traditional Zulu, Xhosa, and Sotho gospel songs and charming vignettes
such as a marriage proposal sung to big-eyed coquettishness mingle with
modern African hip hop arrangements and American imports, including
a perhaps inevitable Amazing Grace, Jimmy Cliff’s Many Rivers
to Cross, and Otis Redding’s Amen in a virtually non-stop pageant.
The use of a backing track breaks the live-in-the-room voice and percussion
spell slightly, but this is only a brief blip in a concert that dares
you not to return the participant’s smiles”
“
By the rivers of Babylon, they wept and sang. Music has always provided
solace to those in pain or under oppression, one outlet where the voice
at least could be free. Maybe this explains why the Soweto Gospel Choir,
coming from a land divided for many years, are able to make such beautiful
music. Or maybe it’s the joyful liberation from apartheid that
makes their show so uplifting. When they sing Nkosi Sikelel’ I
Africa, the South African national anthem, it’s both moving and
inspirational. But that’s not to say these singers are simply
lucky enough to have natural talent, for the choir are exceedingly well-drilled,
their trained voices neatly complementing each others.
There’s simply no flaw here: just singer after singer taking centre
stage to showcase a different tone or range, each excellent, backed
by the smooth singing of the choir and basic drums. The voices range
from intense to cheerful, mournful to deep, poppy to guttural. The songs
have clearly been chosen to appeal to a foreign audience, with a mixture
of unfamiliar African spirituals and some well-known hymns and pop hits.
These include The Lion Sleeps Tonight (which thankfully banishes all
memory of the hideous 80s Tight Fit cover), Ladysmith Black Mambazo’s
Homeless and Jimmy Cliff’s Many Rivers to Cross, each given a
gospel arrangement.
The staging is inventive, from glorious colourful outfits which light
up the stage to the dancing demonstrations where some of the choir’s
male members seem to vie to see who can kick highest over their heads.
There’s also a little comedy, in an amusing demonstration of their
warm-up routine which has the diminutive conductor exaggerating his
movements wildly.
The singers wring meaning from every syllable, throwing themselves into
the song. It goes without saying that anyone who’s a fan of gospel
music should see this show. But anyone who just loves any kind of music
should definitely see it too. It will renew your faith in the power
of songs to stir your heart.
“
Monday evenings rarely see such hyped-up sell out shows during the Festival.
Perhaps even rarer is being subject to aggressive looks from people
who don’thave tickets while you clasp your own to your bosom and
gently finger ‘999’ on your mobile – just in case.
So what’s the fuss? Soweto Gospel Choir are a dynamic 24-strong
South African choir that don’t restrict themselves to Americanised
gospel hymns. As explained at the beginning of the show, 11 separate
regions of Africa are represented, all with their own indigenous dialects.
It results in a diverse, but accessible, show that’s been painstakingly
put together. The gospel is politically aware, but it isn’t limited
by it. …(This is a show) that can do no wrong. Even the proceeds
from the CD sales, and all the donations to Soweto Gospel Choir, go
to HIV positive mothers and their children in South Africa. Yay!”
"They
swayed and swooped. They sang at full throttle. They gyrated and leaped
through two hours of exuberant music-making. This amazing ensemble of
33 singers-dancers-musicians whipped up a storm of vocal sound, and
a storm of audience excitement. They perform with all their heart, soul
and body, and with an easy abandonment welling from the music and dance
…. The Soweto performers brought a depth of emotion as they sang.
An instinctive, harmonic blend infused traditional gospel songs from
the Christian tradition with a compelling force… the stage erupted
in a fiery frenzy that echoed down centuries of a vital culture.
"Sheer jubilation… earthy and unrestrained…
the rhythm of life"
Herald Sun, Melbourne - 25 February 2003
The
Soweto Gospel
Choir is an ensemble of 32 voices handpicked
from the churches of Johannesburg's Soweto district. It is a group of
men and women who enjoy the sheer jubilation that singing brings them…The
sound the choir creates is raw, earthy and unrestrained, and it is the
primal and tribal drive that we respond to as an audience. The music
is also very persuasive because it …contains the very essence of
what could be described as the rhythm of life…nothing on this earth
could reproduce the peace of music sung from the heart.
"Spontaneous appeal ... filled with vitality
and life"
The Age, Melbourne
- 25 February 2003
Much
of the repertoire - a mixture of traditional and contemporary South
African gospel, along with a few popular American gospel and soul
numbers - was charged with a celebratory energy that was enhanced
by the singers' glowing costumes and expressive hand and body movements.
There were dancers …gleefully high-kicking as the choir encouraged
them with whistles and "hollers". A joyful fervour with
a battery of irresistible rhythms... a delightfully spontaneous appeal.
… filled with vitality and life. The Soweto Gospel Choir celebrates
the spirit of South Africa with joy, humour and sincerity.
"Joy and enthusiasm"
The Australian
- 24 February 2003
While
the European tradition of gospel music is about austerity and a personal
response to the divine — think of a Bach mass or passion —
African gospel music is vibrant, outgoing and a celebration of community.
The music is designed to make you get up, dance and wave your arms
about — which is exactly what the choir are doing on stage, with
obvious joy and enthusiasm…In all the singing there is unanimity
in attack and phrasing that many professional opera choruses would
do well to observe.
"as pure and true as the word of God"
Sunday Star Times,
New Zealand — 16 March 2003
"You
can’t live without rhythm. Whether it’s the beat of your
heart, the flap of a bird’s wings or the cycle of the seasons,
there’s a beat to it. But what I learnt from the Soweto Gospel
Choir is that the road to heaven is throbbing with rhythm too….When
they sang harmony the chords were as pure and true as the word of
God, decorated with thrilling ululations, whistles, drum beats and
clapping hands. When the soloists took flight the pitch of the note
seemed comparatively unimportant, it was the meaning that mattered
and they punched that out with passionate sincerity.
"Strong, clear and harmonious"
Christchurch Press, New Zealand - 17
March 2003
It
is rare to go to a concert knowing nothing about the artists or their
music and come away feeling overwhelmed by the performance….The
32-strong choir brought grassroots South African song and dance to
a rapturous Town Hall audience… Their voices are strong, clear
and harmonious, while their dancing is spontaneous and vibrant. .…Last
night’s audience came away inspired
"This is music of generosity, joy and richness"
New Zealand Herald — 13
March 2003
The
32-strong choir …graced the stage in robes as bright and bold
as their voices. As they switched between five languages, a deep pride
in their songs and faith shone from their faces, their voices flickering
and rising like a flame. The songs and rhythms conjured pictures of
wide African planes and leaping antelope. This is music of generosity,
joy and richness… the sound came without effort, the pitch was
divine. The two-hour concert finished with … the crowd clapping
and stomping, some even dancing in the aisles."
"songs calculated to go straight to the heart,
sung with that joyous sense of celebration and exuberance that only black
South African choirs seem capable of achieving."
West Australian, Perth
— 24 March 2003
A
single voice in song carries its own emotional force. But how much
more powerful is that voice multiplied at least 30 times, pitched
in range from baritone to alto against a background of infectious
drumming or rippling guitar sounds? Add to the blend some colourful
costuming, the sway of bodies and prancing feet and you have the Soweto
Gospel Choir... The program offers plenty of church-style gospel singing,
augmented by selections from more pop-orientated music… It’s
a blend of songs calculated to go straight to the heart, sung with
that joyous sense of celebration and exuberance that only black South
African choirs seem capable of achieving.
USA REVIEWS
South
African choir an a cappella jewel
Greenville News, March 22 2006
By Ann Hicks
ARTS WRITER
The sensational 23-member Soweto Gospel Choir entertained for two hours
at the Peace Concert Hall on Tuesday night, and when they finished,
the
audience didn't want them to leave.
The South African choir steam-rolled music out the church door and onto
the
stage singing in Zulu, Sotho, Xhosa, Afrikaans and English to celebrate
life, the love of God, and their country's decade-old democracy.
We were told that in 2004 South Africans marked 10 years of freedom
from
apartheid. Speaking for the group, one of the singers said, "We
are still
celebrating as we remember the past and look toward our future."
As for Soweto, there's no doubt the a cappella choir has a future. They
are
absolutely one of the best there is.Just ask Mamie C. Norris who celebrated
her 100th birthday by attending the
performance.
Since their 2002 formation, Soweto has secured a solid foothold in the
secular world that is glad to embrace gospel when delivered with such
beautiful voices, spirit, knowledge and power.
The pure joy and enthusiasm with which these wonderful singers performed
the
more than two dozen songs in their repertoire had the Greenville audience
rocking, clapping and shouting throughout the performance.
It was a heartfelt response.
It didn't matter if your were a believer or not. You became one for
the time
while you listened to the heart-rending "Weeping," the rocking
"Thapelo"
sung in Sotho or the famed Zulu song "Mbube" ("The Lion
Sleeps Tonight").
And I doubt that anyone has ever heard a finer rendition of "Amazing
Grace"
than the one the Soweto gave last night. The audience rose at its
conclusion.
And all rose again to hear the Soweto sing "Nikosi Sikilele"
the South
African anthem and remained standing to give an extended ovation for
the
outstanding performance.
Byron
College Station Eagle, Texas
11 March 2006
Soweto choir a marvel
By JIM BUTLER
Eagle Staff WriterThe Soweto Gospel Choir sang
the most beautiful rendition of Amazing Grace I've ever heard - no tricky
rhythms, no gymnastic notes, just pure voices in perfect harmony.
The visitors from townships outside Johannesburg, South Africa, presented
a montage of melodies that included traditional African hymns sung in
Zulu, Xhosa and Sotho and a couple of American spirituals performed
in English.
The soloists had marvelous voices, and the choir members used their
hands and arms freely to express the energy of their offerings.
Quite a few numbers were accompanied by dancers whose movements were
unlike anything you might see in an American concert. The guys specialized
in high kicks above their heads.
While most of the songs were unfamiliar, one in particular was strikingly
familiar - after the opening notes played on a flute. It turned out
that Mbube was the model for The Tokens' 1961 hit Wimoweh, or The Lion
Sleeps Tonight.
Lucas Bok conducted the choir with style and enthusiasm and also played
bass in the band. Some selections were performed a capella, while others
were accompanied only by two drummers.
One of the more interesting interludes came when Bok demonstrated how
the members warmed up their voices before a show. One feature - an Aggie
whoop - was added just for the concert in Texas A&M University's
Rudder Auditorium.
The near-capacity audience rewarded the choir with an extended standing
ovation and in turn was repaid with an encore of Oh, Happy Day.
It was clear that the Soweto Gospel Choir would be welcome to return
anytime it wanted.
URBAN
NETWORK
March, 2006
Soweto Gospel Choir – Bovard Auditorium
(USC) – March 3, 2006
The Lord moved in affirmative ways through USC’s
arts auditorium last Friday night as the 26-member Soweto Gospel Choir
showered a near-capacity audience with sacred songs. Dressed in radiantly
colorful attire from head to foot, the ensemble offered a generous and
varied program of music celebrating spiritual faith and human resilience.
The most impressive thing about the SGC is its selfless
unity. There is no star singer, yet there are several soloists. When
it is a man or woman or group of people’s time to lead, they humbly
handle their business then step back into the group. Then, at the end
of each piece, that leader is escorted to the front by another group
member for a round of applause. And while there is an infectiously animated
choir director, he is also a member of the 4-piece band, filling in
wherever he is needed. The choir sang some pieces a cappella, others
to a duo of hand drummers and, toward the end, with an electric band
of keyboard, guitar, bass and trap drums. This made for two captivating,
well-paced sets separated by a proper intermission.
Also impressive are the six languages the group uses, reflecting the
spectrum of cultures within the group. They opened with the powerful
“Thina Simnqobile (We Have Overcome the Devil”), which was
sung in Zulu and performed with a male member coming forward in a vigorous
dance that illustrated the casting out of evil spirits. Later, “Kammatla
(Song of Praise),” was sung in Sotho while “Noyana (Will
You Go)” (asking if you will be ready for God come Judgment Day)
was in Xhosa. A traditional Bahamian piece, “I Bid You Goodnight,”
was also included followed still later at show’s end by the American
gospel standards “Amazing Grace” and “Swing Down Sweet
Chariot.” To close the show, the group sang “Nkosi Sikilele”
(the South African National Anthem), honoring and celebrating ten years
of democracy in their now Apartheid-free country.
What distinguished the group most from Black American
gospel ensembles is their more tempered performance approach. All of
the material was meticulously arranged with very little space for ad
libs and the often histrionic riffing that either makes or breaks showcases
within American gospel. This is not to suggest that the Soweto Gospel
Choir’s music was without joy. It’s just that the lion’s
share of that exhilaration was manifested more in dance (solo and group)
than in individual vocalizing. And, most dynamically, within the rich
harmony that flowed when everybody was singing as one.
A. Scott Galloway - Music Editor
South
African choir wows Lied Center
By Dean Bevan - Special to the Journal-World
Friday, February 17, 2006
South Africa's Soweto Gospel Choir drew a large audience Wednesday evening
To the Lied Center, with members singing and dancing their way through
more than two dozen songs. Occasionally in English, but mostly in Zulu,
Sotho and Xhosa, the lyrics needed no translation to convey the joy
and the energy of this group.
Director/choirmaster David Mulovhedzi sang with his choir, only occasionally
stepping out front to direct. The choir's ability to sing complex and
fast-paced a cappella works without his baton is a testament to the
work he
Has done in shaping this fine group. He was aided by assistant choirmaster
Lucas Bok, who also played bass guitar, served as a lead singer and
(like
Mulovhedzi) composed and arranged some of the music on the program.
The characteristic musical format of the evening consisted of one or
more
(sometimes four) lead singers in each number, with the rest of the choir
providing a background. Often the leads and choir exchanged phrases
in a
call-and-response pattern; at other times the choir maintained a soft
Harmony behind vigorous solos from the leads. The vocal quality of the
choir and its lead singers was consistently extremely bright, the most
distinctive and characteristic sound of this group. Drums provided much
of the evening's
accompaniment, with keyboard, guitar and bass stepping in from time
to time.
Although all members of the ensemble were dancers in their own right,
eight
of this 26-member group were designated in the program as "dancers,"
and their agility and energy astonished the audience again and again.
The African high-kick and stamp was a specialty, but they seemed also
to have mastered every other conceivable step, from a Michael Jackson
moonwalk to a '20s jitterbug. Choreographer Shimmy Jiyane's hand was
visible both in these Dance routines (and in his own brilliant footwork),
and in the never-ceasing, always-synchronized rhythmic movement of the
whole choir.
The group performed several songs that were familiar to the audience.
Some
of these were African, such as "Khumbaya" and "Mbube"
(the latter better known as "Wimoweh" or "The Lion Sleeps
Tonight"). Others ranged from Bob Marley's composition of "One
Love" to American spirituals like "Swing Down" to a moving
rendition of "Amazing Grace."
The visual element was not neglected, especially in the brightly colored
costumes. For the first group of songs, from their recent "Blessed"
CD, both
men and women wore vivid tunics; after intermission the women returned
in
neon-bright skirts and turbans, the men in equally colorful vests. Dramatic
lighting also kept the stage awash in color.
As the last bars of "The Holy City" ended the concert, the
audience rose as
one in a true standing ovation, which the choir accepted graciously
and repaid with two rocking encores, including a prolonged, band-backed
"Oh Happy Day" that kept the audience on its feet and clapping
along as choir members danced down the aisles and back, shaking hands
and smiling.
The band finally played the choir off the stage, still dancing, or the
audience would have stayed all night.
- Dean Bevan
“Meticulous
and unstoppable …spirited and spectacular”
New York Times (07/02/05)
“hearing
the full choir hamonize sounded less like a couple dozen people singing
together and more like a pipe organ roaring to life”
Atlanta Journal (03/02/05)
NEW
YORK TIMES REVIEW – SOWETO GOSPEL CHOIR
Most
gospel choirs concentrate on a single message of faith and praise. The
Soweto Gospel Choir, which performed on Friday night at Zankel Hall,
had an additional one: pride in South Africa.
The 26 member group sang in Zulu, Sotho and English - three of South
Africa’s 11 official languages. On a program that mixed Christian
and traditional songs and international pop. There was plenty of multi-tasking,
too. When they weren’t singing, choir members doubled as backup
band, as drummers or as high-kicking dancers.
Resplendent in a rainbow of robes and pattern textiles, with group moves
for every song, the, the choir was constantly in motion and rich in
harmony.
Formed in 2002, the group draws members from churches around Soweto,
the black township outside Johannesburg, and it has a cornucopia of
remarkable voices: sharp, sweet, kindly, raspy and incantatory leads
above a magnificently velvety blend. Since the 19th century missionary
schools in South Africa have provided musical training (and other education),
and local styles have fused with western hymn –singing while staying
unmistakable South African.
Like the African American gospel, South African choral music hinges
on the interplay of raw-voiced soloist and the choir’s luxuriant
responsibilities. There’s something naturally uplifting about
hearing a daring, improvisatory belter suddenly enfolded by a community
of singers. The choirs more traditional South African songs didn’t
harmonize behind the soloist. The group sang overlapping, syncopated
chords that give the soloist a percussive push or radiated prismatically
around the melody. Add drums, clapping and, sometimes, whistles or ululations,
and the music was both meticulous and unstoppable.
The Soweto Gospel Choir sets out to cover South Africa and the world.
Its set spanned accompanied traditional songs unaccompanied traditional
songs and three-cord township pop called mbaqanga. It included “Mbube,”
the South African song that became “The Lion Sleeps Tonight,”
and a pair of songs dedicated to political prisoners under apartheid
– Johnny Clegg’s tribute to Nelson Mandela, “Asimbonanga,”
and Peter Gabriels “Binko” – as well as South Africa’s
national anthem. The set also included a bit of the current South African
hip-hop called kwaito, between the hallelujahs in “Ahuna Ya Tswanag
Le Jesu” (“There’s No One Like Jesus”).
Well aware of it’s foreign audience, the choir gave a well-rehearsed
explanations of Zulu or Sotgo lyrics and sang devout Western songs including
“Amazing Grace,” Many Rivers to Cross” and “Oh
Happy Day.” It didn’t need to be so cautious. The familiar
songs were neatly sung, but the South African songs were both spirited
and spectacular.
THE
SCOTSMAN
Friday, 13th August 2004
Muisc
Soweto Gospel Choir
ASSEMBLY ST GEORGE’S WEST (Venue 157)
Last year, the choir from the huge South African township made a big
name for themselves at the Fringe with the show demonstrating the joyful
side of their home. The singing was lovely, though at times they seemed
a little taken aback by the Edinburgh audiences’ polite attention
during the songs, rather than the more ebullient participation they
might be used to.
Now they’re back, with even brighter costumes, and either they’ve
got used to the quieter reception here or we’ve loosened up because
this year’s concert is more relaxed, less reverential show.
They make a large noise, filling the hall with just 20 voices, handclaps
and two drummers. With little introduction, they present a variety of
styles, switching between languages and moving from traditional African
melodies to some which sound more R&B, as well as more conventional
gospel arrangements of well known songs in English.
The voices never ever falter, blending perfectly, swelling up like irrepressible
emotion. Most of the choir have solos which demonstrate great variety
in tone and style, while some are illustrated with dance as the younger
men compete in the “I-can-kick-higher-than-you-can” move.
These are mostly devotional songs, even including a version of the perennial
church favorite kumbayah. But there’s nothing too straight laced
about the booty-shaking dance to a wicked tribal drum beat.
Of the familiar songs, a wistful version of Peter Gabriel’s Biko
is a reminder that less than two decades ago, such a choir could never
have performed so freely at home or traveled for this kind of engagement,
while their pride shines as they sing the rousing national anthem Nkosi
Sikele I’Afrika.
The Soweto Gospel Choir is truly inspirational, but that’s not
the reason they deserve five starts. Those are simply for a flawless
performance.
-Andrea Mullaney
The
Herald
Tuesday August 17, 2004
“FORWARD
WITH A FEELGOOD FACTOR”
Soweto Gospel Choir
Assembly@ St George’s West
If you ever wanted to see a singing kaleidoscope, this is your chance.
In their bright, multi-coloured smocks and swaying interchange movements,
fronted by high stepping solo dancers, a singing kaleidoscope is what
the Soweto Gospel Choir resemble – especially looking down on
them from St George’s upstairs pews. They are much more than such
a novelty, though.
This triumphant show re-emphasises their message of harmony, both social
and choral, and shines like a beacon of optimism. Drawn from it’s
member’s diverse tribal traditions and traveling forward through
international folk songs and pop songs such as Bob Marley’s One
Love, this music with it’s feel good factor writ large. One Love
sounds like pretty much everything they do, as if it was written especially
for them, and Peter Gabriel’s Bilko, given an added “we
will not forget” dignity in it’s quite insistence, it’s
a real lump to throat moment that the original never quite managed.
As they celebrate 10 years of democracy and freedom in South Africa,
however the choir and their propulsive percussionists are looking forward.
Apart form anything else, they are now a worldwide touring attraction,
and few will carry out the role with such infectious exuberance and
exultation.
The
List
Soweto Gospel Choir
“Massed voices bring ray of sunshine”
In a world where we appear to be spinning towards a self constructed
doom and destruction, there is enough positive energy an optimism in
an hour of the company of Soweto Gospel Choir to karmically realign
the whole of Edinburgh on a more positive path at least till the end
of August.
Twenty two voices in perfect harmony blend, twist swoop and surge through
a varied selection of songs and languages, with feet hands tongues and
drums keeping the beat. There’s plenty of crowd pleasing and it’s
kind of amazing to think this group haven’t been together very
long as this level of showmanship rarely comes with years of experience.
The
Courier Mail Brisbane, Australia
FRI 05 AUG 2005
Bursting with colour
Reviewed by Gillian Wills
THE Soweto Gospel Choir is a shout of joy, a towering onslaught of exuberance,
firmly led by dynamic choir director Lucas Deon Bok. The singers have
a razor-sharp attack, phenomenal unity and a blazing, voluptuous sound.
Rhythmically exciting, the songs are spiced with djembe drumming, percussive
slaps, stamping, trills and throat clicks and for maximum visual impact,
the singers perform dramatic and synchronised dance moves that intensify
their force and momentum.
In vibrant costumes that integrate aspects of Xhosa and Ndebele design
and Zulu beadwork, the stage was a splash of colour, taut and alert
with the performers' infectious camaraderie.
With oodles of zest and an uplifting spirit, the choir had not a shred
of difficulty involving its audience.
The pace was unstoppable, a seamless flow of traditional gospel and
contemporary standards including an a capella version of the Neville
Brothers' haunting I Bid You Goodnight and Weeping, a moving anthem
from apartheid years. Bob Marley's classic One Love was peppered with
chopped syncopated productions achieving an almost strummed effect.
Individual members take turns to lead as the ensemble surges and retreats
in forceful response to the soloist's call. A rigorous djembe introduces
the second half and Bok demonstrates the choir's multi-lingual skills
as he romps them through warm-up segments in Zulu and Italian. There
are several superb solos as well, including an irresistible Modimo by
soprano Lehakwe Tlali and a warmly shaped Woza Meli Warni. The quality
of the singing just gets better and better with an exploration of lighter
hues, emphatic phrasing and increased range of colour as a sequence
of charming singers ``salute the audience'' supported by exhilarating
harmonised blends.
It was impossible not to be swept along by this joyful, energised and
upbeat choir with its huge, irresistible personality.
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