Adele’s 21 has replaced Whitney Houston’s The Bodyguard as the longest running number one album by a woman.

Los Angeles - The late Whitney Houston was unable to oust Adele from the top spot on the Billboard 200 album chart, and the British singer's 21 replaced The Bodyguard as the longest running No. 1 album by a woman.

Boosted by her six Grammy awards and performance comeback, Adele's 21 saw its biggest sales week yet in 52 weeks on the US chart, selling 730 000 copies according to Nielsen SoundScan.

That gave Adele her 21st week at the top spot, beating the record held by Houston with her 1992 Bodyguard album. 21 which features hits like Rolling In The Deep and Someone Like You has now sold more than 18 million copies worldwide since its release in February 2011, Adele's Columbia Record label said.

The 23-year-old singer and songwriter also saw a surge in sales for her debut album, 19, which sold 87 000 copies.

Houston's songs also saw a huge sales rise following her death in a Beverly Hills hotel on February 11 and a touching tribute by Jennifer Hudson at the Grammy awards on February 12.

Seven of Houston's albums re-entered the Billboard chart this week, led by Whitney: The Greatest Hits compilation at No. 2, selling 175 000 copies. Her self-titled album sold 17 000 to take the 37th spot.

Houston's I Will Always Love You single took the No. 2 spot in the Billboard Digital Songs Chart.

The Billboard 200 album chart reflected a Grammy-influenced boost for other artists.

Pop singer Bruno Mars, who was nominated for six Grammys but went home empty-handed, still saw his album Doo-Wops & Hooligans notch the No. 8 position, boosted by his retro-inspired uptempo performance of Runaway Baby at the Los Angeles awards show.

His album was followed by Grammy's best country album winners Lady Antebellum's Own The Night at No. 9 and newcomers The Civil Wars, who picked up two Grammy awards, rounded out the top 10 with Barton Hollow.

Country singer Jason Aldean, Rihanna, British band Coldplay and country group The Band Perry all saw their albums climb the top 20.

Katy Perry, who stormed back defiantly in her first big public performance at the Grammys after husband Russell Brand filed for divorce in December, saw her new single Part Of Me notch the top spot on the Billboard Digital Songs chart, with 411 000 downloads.

Adele's Rolling In The Deep and Set Fire To The Rain took No. 3 and No. 4 on the Digital Songs chart respectively. - Reuters

‘X-Factor’ star felt like people were "taking" her life away from her after becoming famous.

Cher Lloyd was a "real b***h" during 'The X Factor'.

The 'Swagger Jagger' hitmaker admits she was frustrated when she first came to fame on the UK reality show in 2010 because she felt like people were "taking" her life away from her.

She said: "I was overwhelmed by the amount of interest in me. So I was a bitch, a real bitch. Knowing what I know now, I would've dealt with situations a lot more calmer.

"I was just so angry and frustrated that people had taken my life off or me, even though I had gone on the show."

The 18-year-old star - who was mentored by Cheryl Cole on the series - says her life has been "stressful" since the show ended and she launched her pop career and she has had to alter her own personality to deal with the new pressures in her life.

She told heat magazine: "What did I go through? Absolute stress and mayhem. I couldn't go out, because people were constantly on my back all the time. I just felt like I was doing something I loved, but there was another part of it that I absolutely hated.

"I didn't know who I was, people took that away from me." - Bang Showbiz

Michael’s mischievous behaviour included fighting and stealing food.

Michael Buble has opened up about his bad boy past.

The 'Cry Me A River' singer is known for his mellow music but Michael admitted he has a wild past which includes getting kicked out of a basketball game in Canada for fighting and being thrown off the set of TV show 'The X Files'.

He told the Daily Star newspaper: "I have had fights. I got kicked out of the Vancouver Grizzlies for fighting with a fan. And when I was working at a small club in Vancouver I got kicked out for fighting someone who flipped a cigarette at the bartender.

"I got kicked off the set of the 'X Files' when they filmed in Vancouver. I was an extra and they were treated so badly, so I went to catering and took a hotdog. Which was a big thing."

However, Michael insists he has left his wild ways behind him since marrying model Luisana Loreley in April 2011 and recently admitted he wants to have children soon.

He said: "I've said to Luisana a million times I'd love to have kids. But I always say to her when you're ready - when you feel like you've lived and you've partied and done all the things you want to do. When you've worked your butt off, then tell me." - Bang Showbiz

Mel C is "useless" around Madonna because she is such a fan.

Mel C is "useless" around Madonna because she is such a fan.

The former Spice Girl has met her musical idol numerous times and even enjoyed a memorable dinner with her but Mel admitted she gets nervous in the 'Girls Gone Wild' singer's company.

She told The Sun newspaper: "I've met Madonna a few times. She once called me in my hotel room to invite me to dinner - I was convinced it was one of the girls winding me up. I'm a bit useless in her company being such a fan. I think I may even have offended her once."

Mel also revealed she and her Spice Girl bandmates Emma Bunton, Victoria Beckham, Mel B and Geri Halliwell are closer than ever because they are not in competition with each other.

She added: "Luckily, we aspire to different things and we're very proud of each other."

Along with working on her solo career, Mel raises daughter Scarlet with partner Thomas Starr, who she met in 2002 during a holiday in Barbados and Mel admitted she never thought the relationship would last.

She said: "Tom is lovely and tall, has big blue eyes and a cheeky grin. We had a good old dance to The Prodigy and I thought 'He's my kinda guy'.

"I was sure it would fizzle out when we got back to the UK but it didn't - hurray!” - Bang Showbiz

Therese Owen met Die Antwoord's 'Ninja' to find out how a reactionary country, the US, fell in love with zef culture.

The story was never about Die Antwoord signing to Interscope Records. The story was always going to be about what happened when Die Antwoord told Interscope to go f*** itself.

“Its amazing,” commented an SA music industry insider. “Ninja stuck it to the biggest record company in the world. They tried to censure him and he said: ‘F*** you, I’ll walk.’ They never thought he’d walk and he walked. Lady Gaga, Eminem, Marilyn Manson, or whatever big stars have never told Interscope to f*** off. But Ninja did.”

Yeah, well, Ninja, aka Max Normal (dress code strictly formal), aka Watkin Tudor Jones III, is in the habit of telling record companies where to get off. And the fact that Interscope’s head, Jimmy Iovine, thought he could control such a wildly insane spirit speaks volumes about Iovine’s ego.

Ninja cannot and will not be controlled when it comes to his music. While this is an admirable quality in any artist, Ninja is also known in the SA music industry for his temperamental nature. That, and the fact that he loses interest in his projects in his tireless quest to continually reinvent himself.

By now we all know that America (and that includes middle America) has fallen in love with Die Antwoord. According to artists such as The Parlotones and Goldfish who tour the US, the first thing the Americans ask when they discover they are South African is not: “Wow, Nelson Mandela?” It is: “OMG, you’re like from South Africa! Wow, do you know Die Ant Woord?” (US accent).

They appeared on The Late Show With David Letterman, are the face for Alexander Wang and were pictured in the front row at New York Fashion Week – and all this in the past month.

They are touring the US and are riding high on Youtube with their endless number of controversial videos.

Fellow band member Yo-Landi Vi$$er’s hot, young body inspires the dark side of male sexuality – naughty little schoolgirl kinda freak-sex fantasies.

But that aside, why have the Americans gone gaga for a trio who don’t even sing in their first language? Their second album, Ten$ion, is a mixture of hard-core techno and rapping with raw lyrics and sentiments expressed all in the name of zef.

“The US has been raped of content,” explained the talkative Ninja from his hotel in Chicago.

“They gave us everything from cowboy movies to war films. They are big on presentation and we deliver good presentations in our videos. The Americans love us. They come dressed as Yo-Landi. They mosh to our music. But we are also sold out from Poland to Japan. For us, we are the answer.”

Their latest single, I Fink U Freeky, is a prime example of their visual presentation.

“It’s like when you whisper in someone’s ear. If you say you like someone for the first time, it is a softly-spoken phrase, but the actual feeling is so powerful. It was a mood. When we were making the song, I told DJ Hi-Tek to do it f****** Mortal Combat-style, but also make it an opera, build it up.

“It was the hardest song to make a video for so far. We tried to make the video three times before we got it right.

“The bathroom scene is the most intimate scene because that is the most intimate you can be, to let someone watch you bath.

“When we create music, DJ Hi-Tek, Yo-Landi and I must freak out about the song first and then we put it out there. We don’t care if people don’t like it. It’s real to us. It’s emotional to us. If they get the same ‘furiosity’ as us, then it is amazing. If you like us you are right. If you don’t like us you are wrong.”

Woah, easy with the ego, young Ninja. Although, we should be used to it by now. Ninja does come with an ego. He wasn’t always Ninja, though. As Waddy he was part of The Original Evergreens, the first hip hop group to be signed to a major label in SA. This was in the mid-1990s. But he soon lost interest and legend has it, he wandered into the forests of Knysna.

He returned as the hallowed Max Normal with one of the best albums of all time, Songs From the Mall. It was around this time that Eminem released his debut, The Slim Shady LP, and unfortunately the comparisons between two white boy rappers was inevitable. The sad reality was that Max Normal was first and far better.

Ninja is a brilliant rapper and a dynamic live performer. In fact, he is one of the most talented artists to have come out of SA.

Max Normal led to Max Normal TV which was an experiment in structured insanity. But that, too, wasn’t enough for his insatiable musical mind. Konstruktus would eventually lead to Die Antwoord and the rest is history.

Ninja has always placed great emphasis on visuals, but with Die Antwoord he has successfully integrated controversial viral video campaigns with his crazy beats.

The theme running throughout their videos is one of suggested violence and not-so-suggested violence. Yo-Landi is vicious, Hi-Tek is terrifying and Ninja stares into your very soul.

“In terms of video per- formances, if you look at Evil Boy, my performance has changed. My face was closed in the earlier videos.

“With the track F*k Julle Naaiers, we worked with these criminals who had come straight out of Pollsmoor. I noticed the way they looked at the camera. They looked like hyenas or lions about to go in for the kill. They taught me how to open my face. Most of them have landed back in jail again.”

Well, that video of real-life gangsters is not as controversial as what they have to say about Interscope’s Iovine. In almost every song, they have a dig at their former boss. They vindictively paint him as a slimy sex pest who enjoys abusing his power.

“In the beginning he was cool, when we were first signed and we were being familiar with him. Like, this guy is huge. He lives next door to Hugh Hefner and produced Bruce Springsteen. Then, at the end, he had his b**** boys referencing us.”

Die Antwoord’s “screw you” attitude to Interscope has gained Ninja even more street cred. The group also apparently walked away with a few million in their pockets.

Ten$ion has been released on their own label and distributed by Universal in SA. It is also Ninja’s most commercial album in his fluctuating career.

The album combines hard-core Euro techno beats with Afrikaans rhymes that are performed mostly by Yo-Landi.

But when Ninja kicks in, you can hear and see why Die Antwoord are on their way to becoming superstars, because talent like that cannot be ignored.

This is only part one.

A band like Kwani Experience is still relevant today, regardless of the fact that they haven’t performed as a band in a while.

There are bands that are so significant that their importance surpasses that of their longevity. A band like Kwani Experience is still relevant today, regardless of the fact that they haven’t performed as a band in a while. This is because they represent something that is bigger than them.

Their presence in the live music scene almost eight years ago brought with it a vital change.

They are a renaissance band that redefined the Afrocentric sound, giving it an urban and worldly trait and representing voices of their generation that were more spiritual and rooted.

What’s special is that they were oblivious to this. They were just serving the music and their ideas.

The band’s frontman and rapper, Kwelagobe Sekele (pictured), known by his stage name, P.O. (short for P.O. Box), is coming up with a self-titled solo album, The P.O. Box Project. The Kwani Experience legacy is about to be extended. And this is its offspring.

But to understand where P.O. is taking the music, you have to know who he was before he joined the band, and the kind of artist he’s become because of it.

“Before joining Kwani Experience in 2004 I was working at a library in Newtown – loved books, but hated the job.

“I was a rapper on a street level and was with a number of crews, aspiring to big things.

“I started rapping in 1998 and I used to go to joints like Le Club and Metropolis. People who were big then were Amu, Skwatta Kamp, Tumi (and the Volume) and Omen.

“I’d hang with rappers like Pro Kid, who was not very popular then. I was confident in my raps and I had my cliques who supported me.

“But I had an identity issue when I was 18. I questioned why I sounded American. And the album that was instrumental to my awakening was Talib Kweli’s Reflection Eternal. I started getting into indigenous music,” P.O. says.

“And when I joined Kwani, there was something about the band that hit a nostalgic chord. It was funny how many things we had in common. We were grounded, spiritual, we all loved indigenous music and there was no religion. It was all about having fun and exploring this sound we had created.

“All we wanted to do was to perfect it. And we were open to a lot of things – from jazz, avant garde to bebop. I have absorbed so much from being and travelling with the band. It has made me a better musician. It has given me a deeper appreciation and passion for the music.”

Talking about his quirky stage name, it becomes clear that its origins are vague. P.O. is an urban legend, he says. A lot of people he does not know call him P.O. and someone even suggested that he do a comic strip with it.

He maintains it is not his stage name and acknowledges a band that already exists with the name P.O. Box in France and that’s why he’s going with name The P.O. Box Project.

Kwani Experience has performed a lot in France and this is one of the places that P.O. is targeting with his solo work.

“It’s a place I love and would like to tap into. But most people don’t know that east Africa is a musical market to also tap into before thinking of going overseas,” he says.

We start listening to some tracks, some still very raw, and he reveals how conflicted he was at the beginning of this project.

“I was looking for a sound. I was conflicted because I wanted it to be different from Kwani’s. But Victor Masondo told me, ‘What do you mean you’re looking for a sound? You already have a sound.’ From then on I relaxed and let the music come through me. And I had fun.”

The P.O. Box Project will be released in two parts and Part 1 comes out in April. This includes the first single, Positivity, and a track inspired by the 21st anniversary of Mandela’s release from prison, called Mandela the Symbol.

P.O. wrote the song after last year’s heated Mandela Day Facebook debate he was part of and after noticing how opinionated and divided the youth and the older generation were when talking about the icon. With the ongoing mixed feelings on the decision to put Mandela’s face on banknotes, this is topical.

“It’s a neutral song, but it reflects on what the man symbolises. We need to debate this, but we need to go beyond the politics.

“There’s a lot of victimhood in SA and people cage Mandela to be how they think he should be,” P.O. says.

The music is very progressive, experimental and playful. There are dubstep, electronica and urban influences, supported by an African backbone found in its drumming and percussive nature. We listen to Mahofi, which is still just an instrumental, boasting a resonant Sepedi percussive style.

But it’s the song Inspiration Got No Enemy that shows off P.O.’s production skills and musicianship, and we both agree, it should be the next single. Mahlatsi from Kwani Experience plays guitar on it and it’s an unapologetic, indulgent, ambient, groovy tune with a global but rooted vibe.

“With rap, you have to listen. But I wanted to experiment with making people move and listen at the same time. I want to introduce a different signature to what people normally rap to,” he says.

On the album P.O. will feature artists such as Pedro from 340ml and Zubs, to name a few. And he’s also worked with a producer friend from Holland. It has taken him four years to do this project. And judging by the alternative sound he has come up with, he’s about to give South African rap music a new face.

“I can’t wait to perform this project,” he says gleefully as the interview draws to a close.

Once in a while, a crew changes the course of rap music. Heads have debated whether Teargas did that, but it looks like with their new group, Cashtime Fam, they plan to do just that.

Smashis is in stitches. “You sound so hyped,” he tells me between guffaws. “Your voice is like a TV presenter’s.”

I try not to wince: “Like a YoTV presenter?” I ask.

He does not waste any time thinking about it: “I don’t know, I don’t watch it.”

“Why?”

“Because I write raps and record them. That’s what I do with my time.”

While not the most punctual of rappers, time seems to be a significant theme in the lives of Smashis, Bonginkosi “Kid X” Mahlangu and Tumelo “AB Crazy” Dibakwane. As in, they have none of it to waste.

When they are super-late for our meeting, the trio’s spent the day braving the rain and contending with electrical problems at a university performance during orientation week.

Comprised of Teargas members KO, Ntukza and Ma-E and the three aforementioned up-and-coming rappers, Cashtime Fam has run through the past year like sands through the hour-glass in Days of Our Lives’ opening credits. And they’re not about to stop now.

When Smashis, whose real name is Sthembiso Simelane, finally stops laughing at me, I ask him what it’s like to be performing their debut album, Now Or Never, at campuses around the country to people in their age group. The 21-year-old says: “For me, it’s the coolest thing ever. Like literally, ever. We are performing in front of people my age and older, and they want to be like me.”

Delivering a sound that is big in terms of production (think Rick Ross’s Mayback Music vibe) and lyrics that are signifiers of what’s on the minds of young men, it’s no wonder this group seems to be cashing in on fame.

“I’m that boy your mom warn-ed you about,” they talk-sing in No Good. And, of course, punchlines such as paedophile flow idla abantwana – which girls go crazy for upon hearing – that are lost in translation.

“Following a model that the likes of TKZee Family set up, Cashtime Fam includes the multi-award winning Teargas.

A group that has had to win audiences and hard core hip hop heads over, one hit single at a time. Part of their winning formula has been delivering their lyrics in Zulu and Sotho – something Smashis wasn’t used to.

“I was an all-English rapper back then,” he recollects.

“I had never rapped in vernac. So it was a very difficult transition for me. Not only did I have to go from all-English to including vernac, but now I also had to be a good vernac rapper.”

And if he hadn’t told on himself, we wouldn’t have guessed that mixing SA’s indigenous languages into his rhymes (as on the chart-topping feel-good song, Goodbye) wasn’t his forte. But, luckily for him, the group’s dynamic just goes together.

Teargas give their industry experience and take a swig from the fountain of youth through the boys. Kid X is a solid rapper. Smashis has the playful steez (style and ease) and punchline-driven rhymes on lock. And the ace up Cashtime Fam’s sleeve is probably AB Crazy, a double threat rapper/producer who was once a part of the popular Octave Couplet. But they weren’t always the tight-knit unit they are today.

Smashis, who was raised in KwaZulu-Natal before he moved to Joburg to study drama, was rapping on Siz ’n’ Scoop’s Full Clip show on YFM when Teargas called him up to be a part of Cashtime Fam. Back then, known rapper Molly and AB Fab were a part of the original line-up.

A self-described “Teargas groupie”, Smashis swears that semi-snort laugh KO is famous for laying on tracks is not what he’s learnt from Teargas. “Laughing on songs is a rapper thing,” he chuckles. “But personally, I have learnt a lot from working with Teargas. I think I went from being a rapper to being a musician.

“I was all about killing it and punchlines. Now I’m about saying things that may sound cool, but have people be able to relate to it.”

Time will tell if Smashis achieves what he sets out to do with his music.

• Cashtime Fam’s Now Or Never is now in stores.

When it comes to hip hop the rationale seems to be that |if your rhyming abilities aren’t good enough then insulting punchlines might do the trick...

When it comes to hip hop the rationale seems to be that if your rhyming abilities aren’t good enough then insulting punchlines might do the trick.

At least that’s how people used to describe hip hop music outside the general commercial canon – termed “underground” hip hop.

People generally associated it with criminal acts, a mucky appearance and disrespectful behaviour. It was even easy to spot a “stereotype” hip hop cat – opting to wear baggy jeans, an over-sized T-shirt and sneakers with a matching cap.

But that’s about to change or should I say it has changed already with vernacular hip hop invading the industry. African rap doesn’t need a wardrobe change or one to abandon the underground feel of one’s tunes.

Many have tried this with the likes of Pro Kid dabbling in Kasi flava with his punchlines. But for Durbanites, it was Zulu Boy who paved the way. For that same reason, Zakwe is now banging on the door of the local music scene with his dope hits, Bathi Ngiyachoma and Ishove.

His punchlines are not commercial but underground in every sense. That’s why other hip hop heads have turned down record deals, mainly because they don’t want to be stripped of their freedom of expression.

Phumuza Zindela, better known as Moja Pooh, is one of the hip hop underground heads in Durban who prefers to stay underground.

Moja Pooh has been in the industry for more than a decade, working together with well known cats like Zulu Boy and Shon-G.

Having released more than 10 mix tapes, Moja Pooh feels that underground rap allows him to let rip with whatever he has on his mind, without anyone interfering with his work.

“Most people think we are sick, but we are free to express ourselves without any interference.

“Commercial rappers are guided on what to say because they have to worry about airplay and things like that,” said Moja Pooh.

He uses the vernacular language to voice his thoughts while rebuking claims of vulgar usage in the vernacular hip hop.

Underground rap may be disparaged by many but it’s where most hardcore big wig rap stars are tested before going commercial.

“We can compose a mix today and release it the next day. It is not about money but to spread African rap to society,” he says.

The good thing about back- yard rappers is that they are hard workers and always eager to be the best in the hood, he shares.

“We even sell our own mix tapes on the streets. Under- ground is like a training centre for rappers. We are not spoon-fed here,” he said.

Moja Pooh’s sentiments were echoed by Mhlonishwa Dlamini who joined the world of hip hop in 2004. Dlamini says African rap allows him to touch base with his values while keeping it original.

“We have freedom to touch on relevant issues like drugs, poverty and other things affecting our own nation. We don’t have to change our identity to fit in,” he says. Asked if he uses vulgarity when rhyming, he says: “We diss our enemies fair and square. We tell them how lame they are but we are proscribed from using vulgarity.”

During our conversation, it is clear these hip hop stars feel represented by the likes of Zakwe, Zulu Boy and Shon-G also operating on a commercial level.

“Some of the commercial rappers have a blend of underground in their tracks but it is not about fame, money and booze,” he says. Another underground artist, Ma-ice also praises African rhymes as the next best thing to hit the industry hard.

This shy rapper says he drew inspiration from the hip hop group H2O, only because they stayed true to themselves.

“Personally, I think they were dope, and I also liked the fact that they weren’t imitating US rappers.”

Ma-ice believes that before going commercial, rap acts should go the underground route to survive the fame.

“You need to strategise first, know your strongest points and you must be versatile too,” Ma-ice explains.

These hip hop cats still believe that every hip hop muso should undergo the hustle life of underground rap “Umrapper” before going commercial.

“It is hard to survive the commercial industry if you didn’t spend much time as an underground rapper. You can release the first hit album but that will be the end of your career. No one will ever hear from you.

“These people (big labels), if they see you’re talented and desperately need a record deal, they take advantage of you,” he says.

While most gospel musicians use instruments to enhance their particular sound, Abanqobi saw an opportunity to keep things original.

While most gospel musicians use instruments to enhance their particular sound, Abanqobi saw an opportunity to keep things original.

The sensational a cappella group have earned themselves thousands of fans. This year they will celebrate 12 years in the industry by touring KZN.

The multi-award winning group comprises 13 members (men only) and their tour will start on March 2.

One of the members, Mandla Ntuli, said the group had experienced the hostility of the music industry and survived. He said they were an independent group who managed themselves.

“We would sing in morning assembly in school and realised we were gifted. We then formed a group. Gospel artists wanted to use instruments to enhance our singing abilities, but we wanted to be unique and original. We have our key to accommodate our kind of music,” Ntuli said.

He also revealed that the money received from the tour would not go into their pockets, but would be used for the Abanqobi Foundation.

“We have just come back from Swaziland and people are struggling in that country. We want to help them and also one of our own,” Ntuli said.

He said the group was formed shortly after leaving high school because the members were in the school choir. It is surprising that after a decade they have only released three albums. What’s up with that? “We don’t rush things. We want to release when there is a need to do so.”

Although all seems well now, it was never an easy road. When they first broke into the industry they were heavily criticised and there were even accusations of them copying another a cappella group, Ithemba.

Group member Malusi Mbokazi said: “This didn’t go down well for us. We weren’t copying anyone because we started this kind of music years ago. The thing is Ithemba was already known when we broke on to the scene,” he said.

He said they were still saddened by this confusion: “When people hear us sing, they think it’s Ithemba. But for someone who understands the genre, we are totally different.”

Sibusiso Zulu said they would release another album soon, titled Udondolo.

Abanqobi will tour with gospel music giants Avante, Sifiso Ncwane, Fikile Mlomo, Babo and Sgwili, Seputla “Keneth Mashaba” Sebogodi and Nkanyiso.

• The tour will start at Ladysmith Indoor Hall on March 2, moving to Porters House in Madadeni, Newcastle on March 3. Both shows will start at 6pm. Other venues will be confirmed soon. Tickets at Computicket at R150.

Lebo Sekgobela is a living example of the fruit of perseverance. Like any youngster with dreams, Sekgobela wanted to be a singer from a very early stage of her life.

Lebo Sekgobela is a living example of the fruit of perseverance. Like any youngster with dreams, Sekgobela always wanted to be a singer from a very early stage of her life. She probably hoped for an easier way in, with some big shot music producer discovering her at her church singing and getting signed on the spot.

Sadly, this was not to be.

Ahead of her lay years of hardship. Despite her talent, she would struggle to get noticed.

“I released two albums independently and there was little success from them. The first one didn’t go far while the second one got a bit of recognition,” she says.

This was all happening while she was working as a dependable backing vocalist for the likes of Lundi, Vicky Vilakazi and Justice Mhlongo. It was another constant reminder of where she was and where she could be.

Still, this did not deter the singer from getting the mainstream gospel landscape to know her as more than just a backing vocalist.

“I met representatives of a recording company called HM Entertainments at one of their clients, William Sejake, who I was doing backing vocals for,” she explains.

Unbeknown to her, this gig was going to be the beginning of new things for Sekgobela.

Before the Sejake show Sekgobela twisted an ankle and reported that she could not take part.

“I had to ask to be excused, but he (Sejake) wouldn’t hear of it. We prayed about it and I decided to forget about the pain and just give my best performance.

“This day changed my life. I remember standing up from a chair I was sitting on and singing my heart out. I focused my performance on thanking God for everything that He had done for me,” she said.

This performance was recorded on Sejake’s CD and DVD and Sekgobela did not think anything of it. She was wrong.

“HM Entertainment called me a few days later and told me that a lot of people had liked what they’d heard from my performances on the night. The company asked if I was interested in having it represent my music interests. I jumped at the opportunity and together we produced my latest album, Ithemba Lami,” she says.

The 14-track album is Sekgobela’s thanksgiving offering to God on her finding success in unexpected places. It was so successful it even earned her a Crown Gospel award last year.

“I feel like my dreams have been fulfilled and through music I just want to urge people to have faith in whatever situations they are being tested on,” she says.

The official tour for the album is set to begin some time next month when she will visit places like Limpopo, the Free State and North West. Dates will be announced soon.

• Ithemba Lami is available at a music store near you.