Soweto Entsha

Saw these guys at the Festival today and managed to squeeze off this flashless shot from the middle of the auditorium.

From the Scotsman.com

By Fiona Shepherd
Published: 10/8/2011

Their name means "new Soweto" in Zulu.

Soweto Entsha, a smart, slick a cappella four-piece who reached a global audience last year performing at the World Cup opening ceremony, are distinct from the other African music shows that have stormed the Fringe in recent years in that they freely blend western pop elements of the male vocal harmony tradition into their performance, making for a diverse set which draws on the vibrancy of 1950s doo-wop, the all-singing, all-dancing presentation of the 1960s soul groups and the more saccharine tendencies of the modern R&B outfits as much as the soft, healing invocations and exhilarating spirit of their own tribal cultures.

When they perform a gumboots dance, it is minus the boots - these gents are all kitted out in sober grey suits and crisp white shirts.

A couple of the schmaltzier numbers take them right into Boyz II Men territory, complete with beseeching hand gestures, superfluous vocal ornamentation, "inspirational" spoken word interludes, the mandatory key change and the fixed smiles and catalogue poses into which the band freeze-frame after each song.

But these lapses into sentimentality are contrasted with physical humour and South African song-and-dance numbers brimful of vitality.

In any case, their four-part singing is simply exquisite. Some context regarding their repertoire would have been nice though. If their English language songs are any barometer, Soweto Entsha are big on heart-swelling messages of solidarity and spirituality.

What could have been a soppy number dedicated to "all the mothers" acquires greater poignancy coming from a country which has been ravaged by Aids. A song "for the pretty ladies" is as cheesy as its introduction might suggest but the relish with which the bass singer delivers the line "oh yeah baby" is something to behold.

There is no particular need for them to finish with a cover of Adele's Rolling In The Deep but, like everything else in their set, it is delivered with utter sincerity, a warm depth of tone and a whole lot of soul.