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Untamed By Sweet Pain

UPON listening to Q Montana’s latest album Sweet Pain, one cannot help but identify with the all too familiar journey of self discovery and accomplishment that we are all bound to face in life that the singer narrates.


The 11-track album — launched last Saturday at the Book Café — expounds in a tacit way on the pitfalls, disappointments and the all too sweet triumphs that life dishes out at every other corner. According to Q Montana, whose real name is Brighton Kufa, his second album is all about embracing the painful experiences of growing up whose end result is sweet when one perseveres and ultimately achieves what they would have aimed for.

Defining his music as Afro-fusion the multi-instrumentalist, said this latest installment is the culmination of a long and arduous road that started off with him being mentored by Ernest “Tanga wekwa” Sando and which led to stints with a host of musicians from Africa Revenge, and Dudu Manhenga to Sandra Ndebele, Decibel and Extra Large amongst others. It is also quite evident from the music, produced by Clive “Mono” Mkundu, that the assortment of influences from these experiences are fused to create a unique and yet familiar sound.

Backed by the group Untamed, in songs such as Swedera, Q Montana takes on the role of a storyteller — chronicling with immense dexterity in the vernacular Shona language the story of lovers and the nature of their romance and in Karikoga, he describes the dismay of a parent at the loss of a child. Q Montana seems to steer clear from the clichés that dog most musicians who sing in Shona whereby the same lines seem to be regurgitated for different songs.

St Peter, a charming piece articulates the dilemma of a man who after getting to heaven’s gates requests for one more meeting with his lover with whom he had had only a brief encounter.

The 25-year-old seems unfazed by the popular trend to consign his music to a Westernised template. He said as a product of African music he can only bring into being music from the essence of his experiences. For instance in such songs as Unotyeyi, the unmistakable Zimbabwean sound is merged with jazzy accompaniments and in Sei the work of West African musical giant Ismael Lô are evoked with the sound of the harmonica reverberating in the background. — Staff Writer.

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