Zanefa Ngidi follows suit with “Oshiphigwebu”, another maskandi cut that is based on the same sturdy basis.
Oshiphigwebu’s a tougher one to translate into plain English, feels more like a nickname or a pointed label than a direct word. Zanefa Ngidi is using it in the same way maskandi typically does: to name somebody or something without laying out the whole details. People familiar with the dialect will hear more than a translation could possibly convey.
The guitar does what it does here, that same chosen pattern that runs through all the track. Percussion is sparse, enough to keep a pulse below. Now, it’s less a formula than it is simply how Zanefa Ngidi puts a song together. Period.
His voice ranges from the humorous edge of “Omahlalestolo” to the softness of “Ikhekhe Lami,” sometimes a little bit of both depending on the phrase. Neither one nor the other. That middle-ground tone truly matches a title this confusing.
Lyrically it remains close to labeling and calling out, similar area to his last release. Doesn’t over-explain who or what’s being talked about though. Part of the enjoyment here is honestly not knowing every aspect.
“Oshiphigwebu” will not be a surprise to anyone who has followed Zanefa Ngidi this far. Same guitar, same voice, one more prickly little comment. He’s kind of all about consistency at this point.
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