A peculiar renaissance has emerged in the algorithmic hellscape of our streaming present, where metrics have replaced meaning, and playlists have usurped the album. The democratisation of industry knowledge has stripped away the mystique of the music business, leaving in its wake a generation of artists who navigate both the creative and commercial with unprecedented savvy. In this liminal space, the notion of “independence” has transformed from industry jargon into a battle cry, with crossover success now less a label-manufactured myth and more a self-determined destiny.

Enter Nanette Mbili, the Durban-born, Johannesburg-based auteur whose trajectory reads like a masterclass in genre-agnostic authenticity. Since emerging from South Africa’s fertile musical soil, Mbili has systematically dismantled preconceptions with a poet’s precision and a futurist’s vision. Her SAMA and Metro FM-nominated debut “Bad Weather” revealed an artist fluent in literary devices and sonic architecture, while her EP “The Waiting Room” – a million-streams-deep exploration of genre boundaries – confirmed her as more than just another voice in the chorus.

Mbili’s collaborative victories read like a tastemaker’s fever dream: her work with Amapiano virtuoso Kelvin Momo on “Fool Me” caught Drake’s discerning ear on OVO Radio, while her latest in a plethora of features, Nasty C’s “Use And Seduce,” demonstrates her ability to traverse the commercial-critical divide with rare grace. But it’s her deliberate subversion of South African R&B’s melancholic conventions that marks her a true iconoclast. While her peers chase the alternative aesthetic that dominates the local scene, Mbili crafts uptempo narratives that feel revolutionary and deeply rooted.

Take “Tonight,” a commercial R&B confection that captures the essence of backyard parties and Golf GTIs with boosted systems – cultural touchstones of her hood upbringing that rarely find such precise musical articulation. Meanwhile, “Tonight’s” urban contemporary “Talk To Me” complements the smash hit in dominating radio waves by exploring stylistic territories largely uncharted in South African R&B, creating a new template for local expression.

Beyond the booth, Mbili embodies the modern artist-entrepreneur archetype. Her pivot from law school dropout to industry savant reveals an understanding that artistry in the streaming age requires more than just sonic innovation – it demands business acumen. She’s built a framework where creative control and commercial success aren’t mutually exclusive but complementary forces in her ascent.

On the cusp of concluding “The Waiting Room” era, Nanette launches 2025 with a surreal and introspective single, “Bad.” The track weaves a haunting narrative of vulnerability and suspense, exploring an intimate connection with a woman who seems to embody a modern-day descendant of Hades. Through succulent poetry and foreboding attraction, Nanette blurs the boundaries between friendship and romantic desire, delving into a profound sense of affliction. She provocatively questions her own descent into passion, spawning an uncertainty of whether she’s narrating an external encounter or revealing a fragmented self-portrait. In an online era obsessed with unmasking every hidden truth, “Bad” stands as a tantalizing enigma, inviting interpretation while deliberately obscuring its definitive meaning.

What emerges in conversation with Mbili is a portrait of an artist operating at the intersection of tradition and innovation, where indigenous language meets global sound and where genre constraints dissolve in favour of pure expression. Her story etches beyond breaking boundaries; it entirely redraws the map of artist-entrepreneurial nuance.

For the benefit of our readers, please share with us how you got into music and how growing up in Sydenham shaped the musician you are? 

Nanette: “I started singing in church when I was about 8 years old. From singing casually, I became more intentional about my craft when I entered theatre in high school. That’s where I truly discovered my love for music and singing and the idea to pursue music professionally. Developing ideas and themes felt organic when it came to songwriting because I’d been honing my writing skills since I was 10. I had a wealth of experiences I wanted to share through my music.

My professional journey began in 2020 when I moved to Johannesburg to study law at Wits University while balancing my music career. In 2021, I signed with Universal Music, and the following year, I released my debut album, “Bad Weather.” A significant breakthrough came when I collaborated with Kelvin Momo on two songs: “Fool Me” and “Imvula.” “Fool Me” became an international sensation, getting airplay on Drake’s OVO Radio while simultaneously getting a co-sign from Black Coffee, which gave me tremendous exposure.

2023 was a landmark year for me. I received my first SAMA and Metro FM Award nominations and performed at the SAMAs – definitely a career highlight. I then took a significant step by launching my own label, “MBJ Entertainment,” and released my independent EP “, The Waiting Room,” which surpassed a million plays. Another memorable moment was performing my second sold-out one-woman show at Untitled Basement, with support from Nasty C and Tellaman. In August, I was featured in Apple Music’s “Alpha Playlist” for Women’s Month alongside notable artists like Uncle Waffles, Elaine, and Nomfundo Moh. It’s been a hard work, patience, and dedication journey, but I’m steadily moving toward my goals.”

“The Waiting Room” has the sounds of R&B, Pop, Amapiano and Caribbean musical nuances. What influenced you to have such a diverse sonic flavour?

Nanette: “After “Fool Me” gained popularity, along with my other Amapiano collaborations, I found myself confused. People around me kept trying to define my sound, suggesting I was selling out if I ventured beyond R&B to experiment with genres like Amapiano. But I realised that I’m an artist, not a genre-specific musician. I’m blessed with versatility and the ability to work across multiple art forms beyond music, so why should I box myself in?

I didn’t want to get caught up in the politics of saying, “I only do this genre of music.” Music should be enjoyed across the board – as long as I feel connected to what I’m creating, I want to make it. Once I reached the point where I could focus on making music without worrying about how it would be categorised, I found a real sense of freedom.

I still wonder about navigating life as a genre-bending artist in an industry that prefers artists to stick to one lane. We have artists who create beautiful music blends, yet they’re often boxed into whatever primary genre they started in. But that’s not who they are – or all they are. That’s why I took a limitless approach when creating “The Waiting Room.” I refused to be confined by genre expectations.”

Watch “I Got It (Visualizer)” here

It’s been said that R&B lost its artistic integrity when sexual innuendo was traded for overtly explicit lyrics. As a songwriter, how do you feel about the current texture of explicit penmanship in R&B?

Nanette: “I hate it, even though I sometimes include explicit content in my music. I’m not a fan of explicit penmanship, but I must adapt because vulgarity has become popular in modern songwriting. Still, you don’t need to be vulgar to get your point across.

The songwriting from earlier eras was beautifully sensual without being overt – you’d only truly understand the subject matter once you were grown up. These days, everything has unfortunately become so perverse, and there’s no charm in that. It feels lazy and crass – where’s the poetry?

Given our expansive vocabulary across our varied languages of expression, we could be doing so much more than repeatedly using the same three swear words to describe intimate interactions. There are so many more creative ways to convey these messages.”

I appreciate songs like “Kuyoze,” “Stake,” and “Call You,” where you incorporate indigenous language into your music. Was that a conscious decision, and if so, why was it so important to sing in your native tongue?

Nanette: “I had to have a serious conversation with myself about my identity as a black Xhosa woman. My language and cultural identity are essential parts of who I am – if I couldn’t make that part of my career, what was I really doing? It comes back to integrity. If I can speak isiXhosa all day, why shouldn’t I incorporate it into my music?

Initially, I was resistant. Sometimes, I felt the Xhosa lyrics sounded cringe, and I’m still working through that discomfort. It’s easy for vernacular lyrics to sound awkward, but I had to remind myself that there’s more than one way to express yourself beyond a non-native language. Even though you might make English sound beautiful, it’s not the complete representation of who you are – there’s so much more diversity to your identity.

I went through an identity crisis at one point because I lived what some might call a racially ambiguous life. People often assumed I was a coloured woman when I’m actually Xhosa, and my identity was constantly being questioned and decoded. I’ve come to believe we need to live beyond the social constructs we’ve created to define and divide each other. I ultimately resolved my identity crisis by embracing who I am – an authentic, outspoken Xhosa girl.”

Watch “Stake (Acoustic)” below:

Thank you for joining us for this interview. Before you leave, could you let us know what the future holds for you? What’s on your vision board for 2025?

Nanette: “While I won’t reveal all my secrets, I definitely have exciting plans for the first quarter of the year – new music and music videos are coming. I’m also considering one final release to conclude “The Waiting Room” era. Beyond music, I look forward to my first fashion editorial magazine cover. This year, I want to showcase the fashion enthusiast in me, as I’ve always been passionate about fashion and art in general.

It’s time to let go of fear and show people the complete artist that Nanette is, in all her glory. I’m planning more behind-the-scenes work that people won’t see directly, though they’ll definitely notice the results. I also want to pursue some music-related studies this year to sharpen my craft. 

One of my biggest dreams for 2025 is to travel the world, collaborating with artists from different countries. That’s what’s on my vision board for the year ahead.”

Stream “The Waiting Room” here

Connect With Nanette

X (formerly Twitter): @officialnanette

Instagram: @officiallynanette

Facebook: @nanette

Tik Tok: @officiallynanette

YouTube: @NanetteOfficial

Written by Cedric Dladla

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