The 12 Most Legendary South African Songs Ever

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July 8, 2025

🎵 A Musical Journey

12 Legendary South African Songs

From freedom anthems to global dance sensations — songs that captured the spirit, struggle, and soul of a nation.

Afro-Pop • Rock 1987

Asimbonanga

Johnny Clegg & Savuka

Background

“Asimbonanga” (Zulu for “We have not seen him”) is a powerful protest song by Johnny Clegg and his band Savuka. Clegg, a white South African often called “the White Zulu,” wrote the song at the height of apartheid as a tribute to Nelson Mandela, who was still imprisoned at the time. Mentioning Mandela’s name in a song during that period was brave — and risky. Clegg’s blend of Zulu rhythms and Western rock made the track unique.

Cultural Significance

Asimbonanga quickly became an anthem for freedom fighters and the anti-apartheid movement. It was embraced by the Mass Democratic Movement and the United Democratic Front — groups that fought apartheid in the late 1980s. One unforgettable moment came in 1999, when Johnny Clegg was joined on stage during a live concert by none other than Nelson Mandela himself — a moment that moved the audience to tears.

In a Nutshell

A defiant call that brought Mandela’s name into living rooms; their meeting on stage in 1999 remains one of the most emotional moments in music history.

If the video does not load: watch on YouTube.

Folk Traditional

Shosholoza

Traditional Nguni Folk Song

Background

“Shosholoza” is a traditional Nguni folk song that originated more than a century ago among migrant workers in southern Africa. Sung in a call-and-response style, it was originally performed by Ndebele mine workers traveling by steam train from Zimbabwe (then Rhodesia) to South African mines. The word shosholoza roughly means “move forward” or “make way” in Ndebele — and imitates the chugging of a steam train.

Cultural Significance

Over time, Shosholoza left the mines and became part of South African identity. It is often called South Africa’s “second national anthem” because of its popularity and its ability to unite people. The song carries hope, teamwork, and perseverance; it is heard at sporting events and national occasions as a call of solidarity.

In a Nutshell

Born in the mines, loved in the stadium — this song is South Africa’s unofficial second anthem.

If the video does not load: watch on YouTube.

World Music 1989

Welela

Miriam Makeba

Background

“Welela” is a late-1980s gem by Miriam Makeba — affectionately known as “Mama Africa.” The song is the title track of her album Welela (1989), which she recorded after three decades in exile. The word welela means “to cross over” in Xhosa and carries personal meaning: Makeba dedicated the song to her mother.

Cultural Significance

Released shortly before Mandela’s release and Makeba’s own return to South Africa (1990), Welela felt like a sign of things to come: the crossing from the dark years of apartheid into a more hopeful future. Culturally, the song represented Makeba’s reconnection with family and homeland — a story many exiles could relate to.

In a Nutshell

A tender homecoming song — released just before Makeba was finally able to return home after 30 years in exile.

If the video does not load: watch on YouTube.

Cape Jazz 1974

Mannenberg

Abdullah Ibrahim

Background

“Mannenberg (Is Where It's Happening)” is a milestone in South African jazz history — an instrumental piece by pianist Abdullah Ibrahim (formerly Dollar Brand). Recorded in Cape Town in 1974, it is named after Manenberg, a township on the Cape Flats that became a symbol of forced removals under apartheid. Running more than 13 minutes, Mannenberg blends Cape Malay grooves with American jazz and African marabi influences.

Cultural Significance

Mannenberg grew beyond the jazz scene and became something bigger. It sold tens of thousands of copies and was regarded as South Africa’s best-selling jazz album in 1974–75. In the 1980s, as resistance to apartheid intensified, Mannenberg evolved into an unofficial anthem of defiance.

In a Nutshell

A 13-minute jazz improvisation that became the soundtrack of resistance — proof that instrumental music can speak louder than words.

If the video does not load: watch on YouTube.

Kwaito • Hip-Hop 2000

Nkalakatha

Mandoza

Background

“Nkalakatha” (Zulu slang for “top dog” or “boss”) is the signature hit of kwaito artist Mandoza, released in 2000. Kwaito is a South African urban genre from the 1990s — township attitude blended with house beats and lyrics in local languages. Nkalakatha rides an irresistible bassline and a chorus that instantly pulled people in.

Cultural Significance

Few songs have united South Africa in shared joy as much as Nkalakatha. The track broke through barriers: it played in township minibus taxis as well as on car radios in the suburbs. For many, it became the unofficial party and sports anthem of the post-apartheid era.

In a Nutshell

The kwaito anthem that united a new South Africa on the dance floor — when the beat drops, sangenas (everyone joins in).

If the video does not load: watch on YouTube.

Afro-House 2019

Jerusalema

Master KG feat. Nomcebo Zikode

Background

“Jerusalema” is a modern South African masterpiece that conquered the world. Produced by DJ Master KG, with vocals by Nomcebo Zikode, the song was released in late 2019 as a gospel-inspired house track. The lyrics are in Zulu and carry a spiritual tone — but the beat is pure joy: a mid-tempo Afro-house groove with an infectious melody.

Cultural Significance

At a time of COVID-19 and lockdowns, Jerusalema became a symbol of hope and togetherness. Spreading through dance challenges, the song climbed charts around the world and became one of South Africa’s biggest global pop-culture exports.

In a Nutshell

The lockdown anthem that connected the world through dance — from healthcare workers to flash mobs, everyone found joy in the same steps.

If the video does not load: watch on YouTube.

Afro-Pop 1967

Pata Pata

Miriam Makeba

Background

“Pata Pata” is probably the best-known South African song internationally — carried by the incomparable Miriam Makeba. Originally created in South Africa in the late 1950s, Makeba re-recorded the song in New York in 1967, and that version became a global hit. The phrase pata pata means “touch touch” in Xhosa and refers to a dance in which people tap one another in rhythm.

Cultural Significance

Pata Pata made Miriam Makeba one of the first African artists to break into global pop charts. At a time when South Africa was isolated by apartheid, her music crossed borders and introduced many people to African languages and culture for the first time.

In a Nutshell

The song that introduced the world to Xhosa click sounds and African groove — still impossible to sit still through today.

If the video does not load: watch on YouTube.

Afro-Jazz 1977

Soweto Blues

Miriam Makeba & Hugh Masekela

Background

“Soweto Blues” is a sorrowful, soulful song sung by Miriam Makeba and written by Hugh Masekela. It was released in 1977, one year after the Soweto Uprising in June 1976 — when thousands of Black students protested the apartheid education system and many were brutally killed.

Cultural Significance

The song became a musical document of the uprising and the anti-apartheid struggle. For many South Africans, Soweto Blues still carries the grief of a dark chapter — and at the same time, its resilience.

In a Nutshell

A haunting musical memorial — still a song of remembrance and honour around June 16 (Youth Day).

If the video does not load: watch on YouTube.

Jazz 1987

Bring Him Back Home

Hugh Masekela

Background

“Bring Him Back Home” (also called “Mandela”) is a joyful yet defiant song by Hugh Masekela, written and released in exile in 1987. The story behind it is moving: in 1985, Masekela received a smuggled letter from Nelson Mandela for his 60th birthday. Inspired by it, he wrote this song — imagining the day Mandela would be free.

Cultural Significance

Bring Him Back Home became the unofficial anthem of the anti-apartheid movement in the late 1980s. For many, the song summed up the demand in simple words: Mandela must come home. The apartheid regime banned the song, but it spread around the world. After Mandela’s release in 1990, Mandela danced to Masekela’s performance — a moment that made freedom feel real.

In a Nutshell

An anthem of hope from exile — when Mandela danced to it in 1990, the vision became reality.

If the video does not load: watch on YouTube.

Afro-Jazz 1974

Stimela (The Coal Train)

Hugh Masekela

Background

“Stimela” (Zulu for “steam train”) is a haunting song by Hugh Masekela that describes the migrant labour system of South Africa’s mines. First recorded in 1974, the piece became one of his signature works over the years. Stimela often begins with a spoken introduction in which Masekela describes the journey of a train carrying men from various countries to the mines of Johannesburg.

Cultural Significance

Stimela is regarded as one of the most moving musical indictments of injustice in South Africa. The song makes visible how wealth was built on the exploitation of Black workers — a truth that echoed during apartheid and beyond.

In a Nutshell

Gives a voice to exploited workers — a powerful workers’ rights anthem that remains disturbingly relevant.

If the video does not load: watch on YouTube.

Afro-Pop 1987

Umqombothi

Yvonne Chaka Chaka

Background

“Umqombothi” is a celebratory anthem by Yvonne Chaka Chaka from 1987. It is named after umqombothi, a traditional Xhosa sorghum beer that has been brewed for centuries. This homemade beer is more than a drink — it belongs to community gatherings, ceremonies, and township celebrations.

Cultural Significance

Umqombothi became one of Yvonne Chaka Chaka’s biggest hits and cemented her status as one of South Africa’s most beloved artists. The song proudly carried township culture into the spotlight — and later even gained international attention through pop-culture and film moments.

In a Nutshell

A toast to togetherness — this party song brought traditional beer (and African pride) onto the big stage.

If the video does not load: watch on YouTube.

Pop • Bubblegum 1983

Weekend Special

Brenda Fassie

Background

“Weekend Special” was the breakthrough hit that made Brenda Fassie a star. Released in 1983, Fassie was only 19 years old (as part of “Brenda and the Big Dudes”). The song tells the bittersweet story of a woman who suspects she is only a “weekend special” — a weekend romance with no real commitment. Musically, it is classic South African bubblegum pop.

Cultural Significance

Weekend Special became one of the first South African pop singles to achieve noticeable international success and paved the way for more South African pop acts. Brenda Fassie later became an icon — often described as the “Madonna of the Townships.”

In a Nutshell

The bubblegum-pop hit that launched a legend — and proved that South African pop could resonate worldwide.

If the video does not load: watch on YouTube.

At a Glance

#	Song	Artist	Year	Genre	Significance
1	Asimbonanga	Johnny Clegg & Savuka	1987	Afro-Pop / Rock	Freedom anthem
2	Shosholoza	Traditional	—	Folk	Song of solidarity
3	Welela	Miriam Makeba	1989	World Music	Return from exile
4	Mannenberg	Abdullah Ibrahim	1974	Cape Jazz	Jazz of resistance
5	Nkalakatha	Mandoza	2000	Kwaito / Hip-Hop	Post-apartheid unity
6	Jerusalema	Master KG feat. Nomcebo	2019	Afro-House	Global phenomenon
7	Pata Pata	Miriam Makeba	1967	Afro-Pop	International hit
8	Soweto Blues	Miriam Makeba & Hugh Masekela	1977	Afro-Jazz	Protest lament
9	Bring Him Back Home	Hugh Masekela	1987	Jazz	Mandela anthem
10	Stimela	Hugh Masekela	1974	Afro-Jazz	Workers’ protest
11	Umqombothi	Yvonne Chaka Chaka	1987	Afro-Pop	Township celebration
12	Weekend Special	Brenda Fassie	1983	Pop / Bubblegum	Pop breakthrough