♪ ♪ (instruments warming up) (vocalizing) (vocalizing) (vocalizing) (vocalizing) (vocalizing) (vocalizing) (band playing softly) ♪ Nkosi, sikhalela kuwe ♪ ♪ Lombhlaba luwela phantsi komlambo ♪ (whoops) ♪ Nkosi, sikhalela kuwe ♪ ♪ Sisindise ♪ ♪ Sisindise thina ♪ ♪ Sisindise thixo somandla bo ♪ ♪ Nkosi ♪ ♪ Sikhalela ♪ (yips) ♪ Kuwe ♪ ♪ Lomhlaba luwela phantsi komlambo ♪ (vocalizing) ♪ Nkosi, sikhalela kuwe ♪ ♪ Sisindise ♪ ♪ Sisindise thina ♪ ♪ Sisindise thixo somandla bo ♪ ♪ Sisindise dali wezulu ♪ ♪ Sisindise thina ♪ (piano playing low, soft chords) (cymbal rattling) As the dust settles on floors where wars have been fought for ages, captivity of the mind kept in handheld devices divide us.

Divide and conquer was the rule of that day.

Yet today, we still wear labels because this world forces us to conform or we die.

Death plagues us, death makes us.

How many times have we waited for one to be gone before we acknowledge that they were the soldier that protected us?

See, the irony of this world is that nobody's really alive until they die, yet we still cry over dead bodies with no soul-- oh, my soul!

God, help us!

This world is falling victim to itself and its self-righteous existence.

No care for its women, no care for its children.

God, help us!

There can't be such a bitter ending.

There must still be time for mending.

This cannot be our end-- thixo bawo, when will it end?

This world is a victim to itself and, oh, self-righteous existence.

Care for your women-- where are your children?

Somandla unites us!

Somandla invites us!

Keep us!

♪ Sisindise, sisindise ♪ ♪ Sisindise ♪ (vocalizing) (yips) (saxophone solo playing) (Naledi vocalizes) (solo continues) (guitar solo playing) (solo continues) ♪ Sisindise ♪ ♪ Sisindise ♪ ♪ Sisindise dali wezulu ♪ ♪ Sisindise, sisindise ♪ ♪ Sisindise thina ♪ (resumes intro vocalization) (vocalizing) (vocalizing on higher notes) (vocalizing) (vocalizing) (vocalizing) (voice creaks) (breathes deeply) (audience applauding) - Naledi, thank you so much for that.

Before we start talking to you, would you mind introducing your band?

- Yes, thank you for having us.

And thank you, good evening to everybody in the audience.

(chuckles, audience applauds) So I'm very excited to play with a very wide range of musicians from all over the world.

On the piano, we have Arman Wali.

(audience applauds) On the saxophone, we have Shahar Amdor.

(audience applauds) On the guitar, we have Ely Perlman.

(audience applauds) On the bass, we have Ciara Moser.

(audience applauds) And then our music director and drummer is Lumanyano Mzi.

(audience applauds) - Did you grow up listening to Alicia Keys and Britney Spears in South Africa?

You studied jazz here in Boston, at New England Conservatory, but I'm wondering what the South African music scene instilled in you.

- Yeah, so, actually, I started listening to South African jazz from a very young age.

My dad would kind of sneak me into jazz clubs, and I'd be at festivals on his shoulders, listening to the likes of Hotstix Mabuse, Earl Klugh, and all the South African legends.

And for me, I felt that, you know, my journey in jazz was very much organic, my journey in music was very much organic.

I didn't have training until I moved here to Boston.

I learnt through backyard jam sessions.

I learnt through playing in my community, playing around in church.

It was just kind of one of those things.

"Hey, Naledi, you've got a nice voice.

"Come and," you know, "Come and sit in.

Come and sing along-- here, learn this song and that song."

And so my journey to jazz and just the way that I learnt music was just in a very organic way through community and through people.

- And as we just heard, you are an observer of the world.

This is coming through, and you're sharing it now through your music.

- Yes.

Yes, yes, I feel that, you know, music is just such a, and art in general is just such an important part of humanity.

It's one of the only ways that we can reflect truly what humanity looks like.

And it's such a vast and expansive lens at looking at the world.

And so it's just such a passion.

And I'm so grateful that I'm able to share my voice and my message through that.

- Well, once again, from the Fraser Performance Studio here at GBH, it's Naledi.

(audience applauds) (piano playing) (bass playing) (percussion playing) (playing "Change") - ♪ Something tells me things are about to change ♪ ♪ Look at the skies ♪ ♪ The darkness colors every light ♪ ♪ And leaves a shadow ♪ ♪ Something tells me things will never be the same ♪ ♪ Look at their eyes, the emptiness so loud ♪ ♪ That you can hardly hear them cry ♪ (vocalizing) (saxophone solo playing) (vocalizing) ♪ Something tells me things are about to change ♪ ♪ Look at the lies ♪ ♪ They're getting bigger every time ♪ ♪ They can't contain them ♪ ♪ Something tells me things will never be the same ♪ ♪ Look at our eyes, the emptiness so loud ♪ ♪ That you can hardly hear us cry ♪ ♪ Cry, cry, cry ♪ (voice creaks) (vocalizing) (tempo changes, piano playing gently) ♪ Children die ♪ ♪ Word is they cannot protect themselves ♪ ♪ So let us burn ♪ ♪ Their hopes and dreams are fickle ♪ ♪ Built on lies of time ♪ ♪ Is running out ♪ ♪ So let us gather ♪ ♪ Fix-up now ♪ (vocalizing) (scatting, vocalizing) (voice creaking) (vocalizing) (exhales, saxophone solo playing) (scatting) (voice creaking) (wailing) (voice creaking) (yelps) (wailing, percussion solo playing) (exhales) (breathing deeply) (inhales sharply) (bass resumes first section) (guitar and percussion join in) ♪ Something tells me things are about to change ♪ ♪ Look at the skies ♪ ♪ The darkness colors every light and leaves a shadow ♪ ♪ Something tells me things will never be the same ♪ ♪ And here is why ♪ ♪ The people turn their eyes ♪ ♪ Towards a newer, brighter day ♪ (vocalizing) (saxophone solo playing) (vocalizing) ♪ There must be, there must be ♪ ♪ Something out there ♪ ♪ There must be, there must be something out there ♪ ♪ There must be ♪ ♪ There must be something out there ♪ ♪ There must be ♪ ♪ There must be something out there ♪ ♪ There must be something out there ♪ ♪ There must be something out there ♪ ♪ There must be, there must be ♪ ♪ There must be something out there ♪ ♪ There must be ♪ ♪ There must be something ♪ ♪ Out there ♪ (hums) (audience applauds) So the next song that I'm going to be singing... As you might all know, it is currently Black History Month here in the U.S., and when I moved to America in 2018, and I was at the New England Conservatory, I began to build a really strong community with the, the Black students at the university.

You know, being in a conservatory can be a really isolating environment, especially for Black students, where we composed, maybe, I think it was, like, four to seven percent of the school population.

And I was also, on top of that, the only African student at the time.

And so I began to learn a lot about, you know, Black culture.

I became very involved with the Black Students' Union, became very involved with the voices and sharing my voice, my experiences from back home, in this community.

And I always love to sing this song, because for me, it's a, an homage to the communities, the Black communities, the communities of color, that have really just held me here in the U.S., and given me a sense of home and a sense of welcome even in isolating spaces.

Just seeing people who look like me and are doing amazing things has been such a blessing.

And seeing people speak my name in rooms where I'm not has been such a blessing.

I'll be singing a song, a traditional spiritual, which you might all be familiar with, and it's a medley with a Nina Simone song titled "Four Women."

(piano plays low note) ♪ Wade in the water ♪ ♪ Wade in the water, children ♪ ♪ Wade in the water ♪ ♪ God's gonna trouble the water ♪ ♪ I said, wade ♪ (band begins) ♪ In the water ♪ ♪ Come on and wade ♪ ♪ In the water, children ♪ ♪ Wade ♪ ♪ In the water ♪ ♪ God's gonna trouble ♪ ♪ The water ♪ (bass playing steady rhythm, saxophone notes trembling) (vocalizing) ♪ Wade in the water ♪ (vocalizing) (bass playing steady rhythm, saxophone playing solo) ♪ My skin is black ♪ ♪ My arms are long ♪ ♪ My hair is woolly ♪ ♪ My back is strong ♪ ♪ Strong enough to take the pain ♪ ♪ Inflicted again ♪ ♪ And again ♪ ♪ What do they call me?

♪ ♪ My name ♪ ♪ Is Aunt Sarah ♪ ♪ Aunt Sarah is my name ♪ ♪ Aunt Sarah ♪ ♪ My skin is yellow ♪ ♪ My hair is long ♪ ♪ Between two worlds ♪ ♪ I do belong ♪ (yips) ♪ My father was rich and white ♪ ♪ He forced my mother ♪ ♪ Late one night ♪ ♪ What do they call me?

♪ ♪ My name is Saffronia ♪ (yips) ♪ Saffronia ♪ (vocalizing) ♪ My skin is tan ♪ ♪ My hair is fine ♪ ♪ My hips invite you ♪ ♪ My mouth like wine ♪ ♪ Whose little girl am I?

♪ ♪ Anyone, anyone ♪ ♪ With money ♪ ♪ To buy ♪ (yips) ♪ What do they call me?

♪ ♪ My name is ♪ ♪ Saffronia ♪ ♪ My skin is brown ♪ ♪ My manner is tough ♪ ♪ See, I'll kill the first mother I see ♪ ♪ 'Cause my life's been rough ♪ ♪ See, I'm awfully bitter these days ♪ ♪ I'm awfully bitter, 'cause my parents were ♪ ♪ My parents were ♪ ♪ Slaves ♪ (yips) ♪ What do they call me?

♪ ♪ My name is ♪ ♪ Peaches, Peaches ♪ (beatboxing) ♪ My name ♪ ♪ Oh ♪ ♪ Wade in the water ♪ ♪ What do they call me?

♪ ♪ What should they call me?

♪ ♪ What will they call me?

♪ ♪ My name ♪ ♪ My name ♪ ♪ What do they call me?

♪ ♪ What will they call me?

♪ ♪ What do they call me?

♪ ♪ My name ♪ (humming) ♪ My name ♪ (hums) ♪ Wade in the water, children ♪ ♪ Wade in the water ♪ (audience applauds and cheers) So, this next song that I will be doing is one that was made famous by a South African stalwart, one of the people whose lineage that I walk in, Ma'am Miriam Makeba.

She was a South African vocalist, activist.

She left South Africa in the early '60s to move to the U.K., working on a production of King Kong.

She left with many greats of South African music-- Hugh Masekela, Letta Mbulu, Caiphus Semenya, et cetera.

And then she got discovered in the U.K. and moved here to the U.S., where she did her first performance on the Sullivan Show.

And she immediately blew up, because people had never seen someone that looked and sounded and sang like her.

And so she blew up and she started speaking a lot about what was happening back in South Africa during the apartheid.

And obviously, this was a sensitive topic.

She, her music was kind of hushed down in South Africa, and here in the U.S., you know, she wasn't saying much yet about what was happening here, but just being very vocal about the apartheid.

And obviously, if you are speaking on, of the apartheid, you can't be not speaking of, you know, the Civil Rights Movement.

Where she went wrong was by marrying Stokely Carmichael.

(laughs) Who was a very controversial figure in, you know, the American scene at the time.

And so she had been banned from South Africa.

She was not allowed to go back-- her passport was canceled.

Her citizenship was taken away.

And eventually her citizenship, uh, her passport in the U.S. and her visa and everything was also taken away.

So she was sent out of the U.S., she had no home.

She was kind of a roaming nomad at the time.

But she continued to speak out against the injustices against her people, our people.

And so she moved to Guinea and began to build a life there.

But this song is one that she made famous.

It's titled "African Sunset."

And it basically is speaking about, um...

It's the right song, right?

Yes, okay.

(chuckles): Okay, my band is, like, okay.

So, in the song, she's basically speaking about what is, something called lobola-- I could, I speak forever, so I don't want to get too deep into it.

But it's basically a dowry.

And in South Africa, the dowry is paid with cows.

And so she's singing about the cows, because they are missing from the community, and she's wondering, where are they?

And she's kind of calling for them.

So this song is titled "African Sunset."

(drum sticks tapping) (band begins) (guitar playing) (Mzi whoops) (drum rolls) - (yipping) (full band playing) ♪ Ilanga lishonile ♪ ♪ Bafana mazibuye izinkomo zobaba ♪ ♪ Ilanga loshonile ♪ ♪ Bafana mazibuye izinkomo zobaba ♪ (yips) ♪ Sengibathe ngibheka ngasemagcekeni ♪ ♪ Angiboni lutho ♪ (beatboxing) ♪ Sengibathe ngibheka ngasemagcekeni ♪ ♪ Angiboni lutho ♪ (yipping) (Mzi singing harmony) ♪ Oh siyolobola ngani na ♪ ♪ Masiyeka inkomo zobaba ♪ ♪ Zem uka nomoya ♪ ♪ Oh siyolobola ngani na ♪ ♪ Masiyeka inkomo zobaba ♪ ♪ Zemuka nomoya ♪ - (solo): ♪ Bafana ziphi na ♪ ♪ Izinkomo zobaba ♪ ♪ Bafana ziphi na ♪ ♪ Izinkomo zobaba ♪ ♪ Ye Bafana thathani izinduku ♪ (Mzi singing in response) - ♪ Ye bafana thathani izinduku ♪ ♪ Ye bafana thathani izinduku ♪ ♪ Niyobhek' izinkomo zobaba ♪ ♪ Esigangeni ♪ ♪ Ye Bafana thathani izinduku ♪ ♪ Ye bafana thathani izinduku ♪ ♪ Ye bafana thathani izinduku ♪ ♪ Niyobhek' izinkomo zobaba ♪ ♪ Esigangeni ♪ (Mzi singing harmony) ♪ Oh siyolobola ngani na ♪ ♪ Masiyeka inkomo zobaba ♪ ♪ Zemuka nomoya ♪ ♪ Oh siyolobola ngani na ♪ ♪ Masiyeka inkomo zobaba ♪ ♪ Zemuka nomoya ♪ (saxophone solo playing) - (yipping) (solo continues) (solo continues) (solo continues) (solo continues) (percussion solo playing) (yipping) (solo continues) (yipping) (solo ends) (hums) (Mzi singing harmony) ♪ Oh siyolobola ngani na ♪ ♪ Masiyek' inkomo zobaba ♪ ♪ Zemuka nomoya ♪ ♪ Oh siyolobola ngani na ♪ ♪ Masiyek' inkomo zobaba ♪ ♪ Zemuka nomoya ♪ ♪ Oh siyolobola ngani na ♪ ♪ Masiyeka inkomo zobaba ♪ ♪ Zemuka nomoya ♪ ♪ Zemuka nomoya ♪ (band stops except percussion) MZI: ♪ Oh siyolobola ngani na ♪ - (vocalizing) - ♪ Masiyeka inkomo zobaba ♪ ♪ Zemuka nomoya ♪ (both vocalizing in harmony, percussion stops) BOTH (in harmony): ♪ Oh siyolobola ngani na ♪ ♪ Masiyeka inkomo zobaba ♪ ♪ Zemuka nomoya ♪ (cymbals rattle, band resumes) (song ends) (audience applauds and cheers) - I know this next song is very important to you.

Tell us about it.

- So, the next song that I'll be performing is titled "Peace and Justice," or, for short, we call it "PxJ."

And it's a song that I wrote a couple of years ago.

- And we certainly need that right now.

For you, what was the inspiration for this song?

- So, I remember writing the song.

I was in a hotel room in New York.

I was touring a show.

And I was just kind of feeling really anxious.

And I woke up one morning.

I'd been having a lot of, you know, anxiety dreams, dreams of war, dreams of fighting.

Um, and so I woke up, and I began kind of typing a note.

I was, like, "Oh, my gosh, this world," da, da, da, da.

"There's no peace, there's no justice."

And then I opened my Twitter, and I see news of the school shootings that happened in Uvalde, Texas.

And immediately my heart broke, and I was just, like, "Not again."

I think a couple of weeks before, there was a shooting in Buffalo, New York.

And my mom's not really familiar with how New York works, and I wasn't familiar for a while, but she didn't understand that Upstate is, like, really far from New York City.

(both chuckle) And so she, like, called me.

She's, like, "Are you okay?

I heard in New York," da, da, da.

And she'd been calling me every single day, just kind of, like, you know, "Are you safe?

"Are you okay?

You never know what can happen.

Please be safe, make sure you're always, you know, aware."

And this song was just kind of written because I was, like, when, when will we have justice?

Like, when will there be peace?

When are children gonna stop dying?

When are people gonna stop dying?

It's been centuries, it's been decades.

It's been such a long time of us living in this state of anxiety.

And so this song was inspired by that.

It's really just, like, an urgent call to action.

And actually, the title "Peace and Justice" came from my first time going to a protest here in the U.S., and hearing them shouting, "No justice, no peace-- no peace, no justice."

And so I thought it was an apt way to title the song, as well.

- Well, once again, Naledi and her band.

(audience applauding) (piano playing) - (scatting) (band joins in) (vocalizing) ♪ Peace ♪ ♪ And justice live for us ♪ ♪ Peace ♪ ♪ And justice live for us ♪ ♪ When a child dies everyday ♪ ♪ What does it mean?

♪ ♪ When a mother can't even call her son ♪ ♪ What does it mean?

♪ ♪ Years and years of fighting ♪ ♪ Let it be ♪ ♪ Years and years of dying ♪ ♪ When will we be free?

♪ ♪ Peace ♪ ♪ And justice live for us ♪ ♪ Peace ♪ ♪ And justice ♪ (yips) (beatboxing) (beatboxing) ♪ When will we have ♪ ♪ Peace and justice?

♪ ♪ When will we grab ♪ ♪ Peace and justice?

♪ ♪ Today ♪ ♪ Tomorrow ♪ ♪ Forever ♪ ♪ Forever peace and justice ♪ ♪ When will we have?

♪ ♪ When will we grab?

♪ (vocalizing) (yips) (percussion solo playing) (other instruments resume) ♪ When will we have?

♪ ♪ When will we grab?

♪ ♪ When will we have?

♪ ♪ Years and years of fighting ♪ ♪ Let it be ♪ ♪ Years and years of dying ♪ ♪ When will we be free?

♪ ♪ No justice, no peace ♪ ♪ No justice, no peace ♪ ♪ No justice, no peace ♪ ♪ No justice, no, no, no, no, no, no, no ♪ ♪ No justice, no peace ♪ ♪ No justice, no ♪ ♪ No justice, no ♪ ♪ No justice, no, no, no ♪ ♪ No peace, no justice, no peace ♪ ♪ No peace, no justice, no peace ♪ ♪ No peace, no justice, no peace ♪ ♪ No peace, no justice, no, no ♪ ♪ No peace, no justice, no peace ♪ ♪ No peace, no justice, no peace ♪ ♪ No peace, no justice, no peace ♪ ♪ No peace, no justice, no peace ♪ (audience applauding) So, I'm very excited to have you all become part of my community.

Thank you so much for spending this evening with me and my band.

(audience applauding) (exhales) Um, I'm really joyful that I get to do this, and that I get to do this with people who have created home for me in this space.

When I first arrived in the U.S., I was obviously very excited for all the opportunities that were coming, all the exciting ways that I was going to grow through my music, through my being, through my community.

But I remember, after a couple of months here, I began feeling really homesick.

And it was my first time spending an, you know, increased amount of time...

It was my first time out of, you know, out of Africa, out of my continent, but being away from home, as well.

And I was, like, Boston is not that different from, you know, Cape Town, which is where I was living just before.

We've got Ubers, we've got restaurants, there's people, there's schools, nothing's, you know...

I didn't understand why I was homesick.

And I began to speak to some of my South African community around, and I was, like, "What feels different about this space?

"What makes you feel like this is not home, you know, other than your family I guess, not being here?"

And the more I began to dig into that, the more I began to listen to the stories, I realized that what made home home for me was the people, which is batho, which is the name of the, my debut project.

It's titled Batho, which means "people."

And the song that I wrote, the first song I wrote living here, is titled "Batho Baka," which means "my people."

And it's written in my home language of Sesotho.

And it's just a song about all the beautiful things that make South Africa home and that make my people home.

And as I've sang this song throughout the journey, it's been really beautiful having new people become part of my kraal.

Like, having new people become part of what it means to feel home.

And so, because you are all now part of those people, I'm gonna ask you to sing along with me in this song.

Um, can I have the key one more time?

(piano plays chord) ♪ Lo weh ya ho ♪ ♪ Lo weh ya ♪ ♪ Lo weh ya ho ♪ ♪ Lo weh ya ♪ So you can sing now with me.

♪ Lo weh ya ho ♪ ♪ Lo weh ya ♪ If you're a soprano, you can... (harmonizing at higher pitch): ♪ Lo weh ya ho ♪ ♪ Lo weh ya ♪ If you're a tenor, you can... (harmonizing at lower pitch): ♪ Lo weh ya ho ♪ ♪ Lo weh ya ♪ I'm gonna to ask to hear you...

AUDIENCE (in harmony): ♪ Lo weh ya ho ♪ ♪ Lo weh ya ♪ NALEDI: Nice, nice, nice.

Okay, so, you all sound beautiful.

Wow, did y'all do choir, like... (laughs) Um, sounding great.

So you'll hear when he starts singing that.

But the song is titled "Batho Baka."

(saxophone begins) (rest of band joins in) (yipping) (saxophone playing) (piano playing) (Mzi whoops) (exclaims) (saxophone playing) (guitar playing arpeggio) ♪ Difate tsa hae ♪ ♪ Dibua dipuo ♪ ♪ Lefatshe le a sepela bo ♪ ♪ Letsatsi la hae ♪ ♪ Le ntsoara letheka ♪ ♪ Le a nkutsa ohhh ♪ ♪ Lerato ke dineo ♪ ♪ Tsa ditjhaba tse senang letho ♪ ♪ Dumela ke lefuko ♪ ♪ Le bulang pelo ♪ ♪ Batho baka, yho ♪ (Mzi singing in background) ♪ Batho baka, yho ♪ (solo): ♪ Ke silwe morao, o ♪ ♪ Mme le ngwana ba khutletse lapeng ♪ ♪ Eyo ♪ ♪ Moya ha o heme, yho ♪ ♪ Letswalo leng tshwere, yho ♪ ♪ Ke khathetse, eoo ♪ ♪ Ke tshwere mmino fela ♪ ♪ A ke na letho, ke le khutsana ♪ ♪ Ke hopotse Soweto ♪ ♪ Kapa, Jozi, le batho baka, yho ♪ (Mzi singing in background) ♪ Batho baka, yho ♪ (vocalizing, background singing stops) (guitar playing solo) (solo continues) (solo continues) (solo continues) (solo ends, audience applauding) (piano playing solo) (solo continues) (solo continues) (solo continues) NALEDI: ♪ Lo weh ya ho ♪ MZI: ♪ Lo weh ya ♪ BOTH: ♪ Lo weh ya ho ♪ ♪ Lo weh ya ♪ (band continues) - (solo): ♪ Ke tshwere mmino fela a ke na letho ♪ ♪ Batho baka, yho ♪ (Mzi singing in background) (solo): ♪ Batho baka, yho ♪ ♪ Lo weh ya ho ♪ ♪ Lo weh ya ♪ ♪ Lo weh ya ho ♪ ♪ Lo weh ya ♪ ♪ Lo weh ya ho ♪ ♪ Lo weh ya ♪ ♪ Lo weh ya ho ♪ ♪ Batho baka, eyo ♪ ♪ Batho baka, eyo ♪ NALEDI AND MZI (in harmony): ♪ Lo weh ya ho ♪ ♪ Lo weh ya ♪ ♪ Lo weh ya ho ♪ ♪ Lo weh ya ♪ ♪ Lo weh ya ho ♪ ♪ Lo weh ya ♪ ♪ Lo weh ya ho ♪ ♪ Lo weh ya ♪ (solo): ♪ Batho baka, eyo ♪ ♪ Batho baka, eyo ♪ ♪ Batho baka, eyo ♪ (Mzi singing in background) ♪ Lo weh ya ♪ ♪ Lo weh ya ho ♪ ♪ Lo weh ya ♪ ♪ Lo weh ya ho ♪ (solo): ♪ Lo weh ya ♪ ♪ Lo weh ya ho ♪ ♪ Lo weh ya, lo weh ya ♪ ♪ Ke silwe morao, o ♪ ♪ Mme le ngwana ba khutletse lapeng ♪ ♪ Eyo ♪ ♪ Moya ha o heme, yho ♪ ♪ Letswalo leng tshwere, yho ♪ ♪ Ke khathetse ♪ ♪ Eoo ♪ ♪ Ke tshwere mmino fela ♪ ♪ A ke na letho ♪ ♪ Ke le khutsana ♪ ♪ Ke hopotse Soweto ♪ ♪ Kapa, Jozi, le ♪ ♪ Batho baka ♪ ♪ Yho ♪ (holding note) (vocalizing) (saxophone playing) (song ends, audience applauding) - So I think I'm a fairly good negotiator.

Even though a career in NPR and PBS, I'm not good for asking for money, but I can negotiate.

Would you all like an encore?

(audience cheers and applauds) Would you like to give the people what they want?

- If you insist.

- See?

It's so easy!

Once again, Naledi and this fantastic, staggering band.

(audience cheers and applauds) ("Kulala" begins) - (beatboxing) (saxophone and organ playing in harmony) (singing in Swahili) (singing in Swahili) (saxophone and organ playing lead) (singing in Swahili) (Mzi singing harmony) (Naledi singing solo) (singing in Swahili) (beatboxing) (singing in Swahili) (singing and scatting in Swahili) (singing and scatting in Swahili) (singing and scatting in Swahili) (singing and scatting in Swahili) (singing and scatting in Swahili) (singing in Swahili, Mzi singing in background) (singing in Swahili, Mzi singing in background) (yipping) (singing and beatboxing) (singing in Swahili and beatboxing) (singing in Swahili) (yips) (singing in Swahili) (beatboxing) (singing in Swahili) (beatboxing) (singing in Swahili) (Mzi singing harmony, both repeating phrase) Could you all sing that with me?

(both singing in Swahili, repeating phrase) I can't hear y'all.

(audience singing along) (singing in Swahili) (volume increasing) (yips) (singing in Swahili) (singing, yipping, beatboxing) (singing in Swahili) (Mzi and audience singing) (singing in Swahili) (Mzi and audience singing) (audience clapping along) (singing in Swahili) (volume decreases) I'm gonna introduce my band one more time.

We have Arman Wali on the keys.

(audience applauds, Naledi singing) We have Shahar Amdor on the saxophones.

(singing in Swahili, audience applauds) We have Ely Perlman on the guitar.

(singing in Swahili, audience applauds) We have Ciara Moser on the gui, on the bass.

(bass plays short riff, audience applauds) (Naledi singing) We have the wonderful, all the way from Cape Town, South Africa, Lumanyano on the drums.

(singing in Swahili, audience applauds) Thank you so much, everybody, for being with us this evening.

My name is Naledi.

I'm super-excited to continue sharing in this journey with you all.

Please continue singing me out.

One more time.

(singing in Swahili) (song continues) (song fading)