It’s the journey, not the destination, that’s rewarding.
Words by Alex Gwaze (Curator)
Questions by Alex Gwaze and Kim Mukwa (Writer & Cultural Commentator)
From the hills of Matopo to the city rhythms of Bulawayo, Duduzile Ndlovu — known artistically as La Dee — carries with her a rich blend of spiritual and traditional influences. Born in the rural district of Matopo, she began singing in church as a young girl. When her family later relocated to Emakhandeni, her gospel roots were exposed to the township sounds of maskandi and marabi — genres steeped in improvisation and the daily poetry of the sacred and streetwise. These genres (both local and cross-border) would later become her creative compass that directed her distinct sonic performances.
Driven by a call as spiritual as the music she listened to, La Dee responded by crossing the border into South Africa to pursue her purpose — “to inspire souls, promote love and spread God’s word.” Her debut single Inonolakwethu introduced her as a bold new voice in maskandi, but since then she has expanded her sound, blending it with Afro-jazz, Amapiano, soul, Afropop, House and Sungura-inflected grooves (enriched by her lyrical Ndebele cadence). Songs like Ngithembe Kuwe, Isoka Lam, Happiness, and Umaqondana Wam have made waves on radio and digital platforms, cementing her place in both Zimbabwean and South African soundscapes. This success resulted in her getting nominated at both the Zimbabwe Music Awards (ZIMA) and the Bulawayo Arts Awards (BAA).
For many who have followed her come up, La Dee’s artistry is subtle but seismic: she isn’t chasing fame but impact — nurturing both her career and her community. Her strategy of visibility — from festivals to radio to entrepreneurship — shows she understands cultural economies as ecosystems, not just markets. Her future seems patiently bold: she’s building a platform that’s reviving Bulawayo’s cultural heritage while shaping its future, from the inside out. In La Dee, we see a singer, entrepreneur, and cultural ambassador — one whose Ndebele interjections echo affirmation, belonging, and unapologetic strength.
AG: I read somewhere that you were born in rural Matopos. How true is that, and what do you remember most about that time before the move to Bulawayo?
LD: (laughs) Yes, that’s true. I was born in the beautiful rural areas of Matobo, specifically in Kezi, Maphisa. Growing up there deeply affected my life and music. I remember singing with family and neighbours, learning traditional tunes that still shape my music today. Living rurally taught me to value simplicity, community bonds, and nature. These lessons still shape my music, where I draw from my roots and people’s stories. Moving to Emganwini in Bulawayo was a big change that opened me up to new things. There, I started to discover myself more as I navigated new experiences. Still, my rural upbringing remains a core part of me as a musician and person.
KM: Is that why your first single, Inonolakwethu, leaned heavily into maskandi — a genre often described as rural and rooted in Zulu folk tradition (yet it also shares DNA with Zimbabwe’s sungura)? Did you encounter any resistance from those who thought it was “too traditional”?
LD: I didn’t face much resistance; instead, fans supported me for the cultural authenticity in my music. They seemed to appreciate how I wove together elements of my heritage into my work. My aim was to stay true to my roots while trying new things and pushing limits, and that seems to connect with my audience. My cultural heritage is a big part of me, and I connected deeply with maskandi and sungura music. These genres — with their storytelling, guitar rhythms, and social commentary — let me express myself genuinely. I pulled inspiration from Zulu folk traditions and Zimbabwean sungura, mixing them to make something new that reflects my background.
KM: You released that single in South Africa? You moved to South Africa during the infamous 2008 period — a time when Zimbabwe was deep in hyperinflation and xenophobia was beginning to rear its ugly head in South Africa. Despite all that, you found yourself at Hillbrow FM — a space rarely accessible, especially for a Zimbabwean woman.
LD: Yes! Moving to South Africa in 2008 was tough but transformative, and landing at Hillbrow FM brought challenges and opportunities. I learned about South African customs while sharing my Zimbabwean background, and this mix broadened my view. It helped me make content that spoke to lots of different people. Finding my own space meant playing to my strengths and passions. I built real connections with colleagues and listeners to get past cultural and language barriers. Especially as a Zimbabwean woman in a mostly South African space, I brought a different voice. I used that to make shows celebrating different cultures, talking about social issues, and sharing stories from various communities. My time at Hillbrow FM showed me how powerful cross-cultural exchange is and how important it is to have representation in media. By owning my differences and finding common ground, I made an impact and helped pave the way for others like me.
AG: You’ve been on radio for years — from Hillbrow FM to Hala Radio in Swaziland. Radio is your first home. Is this what inspired your recent marketing strategy — the ‘radio tour’ for Umaqondana, your single with KayKid UmfanomSotho?
LD: My radio experience has shaped how I promote my music. I knew it’d help me connect with fans in a meaningful way and promote the song well, so the radio tour for Umaqondana Wam’ was a smart move. Visiting radio stations let me share the story of Umaqondana, talk about working with KayKid UmfanomSotho, and dive into how I made the song. I liked sharing my thoughts with listeners. I’m happy to see the radio tour’s working — getting Umaqondana played on air and starting conversations about the song’s themes and message among listeners. This approach has really helped boost the song’s reach.
AG: On the flip side, you’re also on TV as host of DANSA on NRTV on DStv. Plus, you’ve shared the stage with Simphiwe Majozi from Uzalo, and collaborated with Rasquesity Keaitse on the Umaqondana music video — a director known for ZTV’s Dlala Gamla. Being around all those cameras, actors, and directors — do you feel a calling toward acting?
LD: Hosting DANSA on NRTV has been an exciting journey. While music remains my primary passion, being around actors and directors has piqued my interest in exploring acting. Especially working with Rasquesity and Simphiwe Majozi — their professionalism was inspiring. I’ve enjoyed learning from them and seeing the process behind bringing a vision to life. I’m open to exploring acting opportunities that align with my creative vision and values. The experience has shown me the importance of storytelling and character development, and I’m excited to see where this new path might lead.
KM: We recently saw you perform at #IAmBYO in Nketa, and proudly rally behind the Zimbabwean cricket team — the Chevrons — against the South African Proteas as a local sports ambassador. How do you see your new role as an artist shaping public culture — not just for Bulawayo, but for Zimbabwe’s national identity?
LD: Performing in Nketa was amazing, and I’m a proud supporter of the Chevrons! With my music, I want to celebrate our heritage, tell our stories, and spark national pride. I’m keen on promoting Bulawayo’s voice and showcasing Zimbabwe’s diversity and talent. I hope my music helps shape culture in a way that brings unity, creativity, and a better understanding of our shared experiences. By owning our roots and celebrating our differences, I think we can build a stronger, more vibrant Zimbabwean identity that connects with Zimbabweans everywhere.
KM: On that point of connecting everywhere. You’ve been nominated for a ZIMA — national recognition — and also for the Bulawayo Arts Awards (BAA), in your hometown. Many artists only get acknowledged in one of those spaces. What does it mean to be recognised both across Zimbabwe and in your own city?
LD: It’s wild to be recognised both nationally and in my hometown. Coming back to Bulawayo, it’s great to see my community loving my work. Being acknowledged in both places confirms my artistry and the work I’ve put into sharing our stories and culture. It’s a dream to be celebrated by the people who inspire me and who I’m representing. This feels like a full-circle moment — my artistic journey’s connected with local and national audiences. It pushes me to keep trying new things, exploring sounds, and telling stories that show what Bulawayo and Zimbabwe are about. I’m thankful to be part of Bulawayo’s arts scene and Zimbabwe’s creative world. It’s a privilege to be among artists shaping our culture, and I’m stoked to see what’s next.
AG: Despite your music being in what some might describe as ‘strong’ Ndebele — leaning towards Zulu at times — you’ve crossed so many barriers. Why is it so important for you to sing in your mother tongue?
LD: I picked up Ndebele from my dad’s side, even though my mom speaks English. Growing up with Ndebele language and traditions has shaped my music a lot. For me, singing in Ndebele is about being real and representing my community. I want my music to show who I am and tell stories of my people. By using Ndebele and sometimes Zulu influences, I’m celebrating our rich cultural heritage. In an industry that often picks commercial success over cultural meaning, I’m glad to be part of a movement doing things differently. Language is powerful for keeping culture and identity alive. By singing in Ndebele, I’m helping keep the language alive and sharing it with new people. I take that responsibility seriously and am glad to share my culture.
KM: Your sound is often placed somewhere between the emotional depth of Berita and the rhythmic polish of Mafikizolo. But your songs are more vulnerable, speaking to heartbreak and longing many women carry quietly. What gave you the courage to write from that position?
LD: Thank you. I’m humbled by the comparisons to Berita and Mafikizolo — they’re amazing artists. I think music should show who we really are, and I want to tap into feelings we don’t often talk about. I draw from stories of women around me who often keep their hearts locked up. I want to voice that vulnerability and create solidarity with women hurt by love — whether it’s a breakup, unreturned feelings, or dealing with heartbreak aftermath. Some of my songs are tributes to women who keep loving and hoping despite pain. You know, some women have shared their heartbreak stories with me, saying my songs helped them feel less alone and more empowered to face their feelings. Those moments mean everything to me and push me to keep making real, relatable music.
AG: That must be a great feeling, knowing your music has touched others emotionally. Talking about touch, you run La Dee’s Touch Beauty Spa. Rather than asking about the challenges of running a business in Zimbabwe (which we know are plenty), tell us: what are your beauty secrets that have made you one of the most admired women in the country?
LD: (laughs) Thank you. I’m excited to share my love of beauty and wellness. At La Dee’s Touch, we do holistic beauty with natural therapies and treatments that make you feel good overall. It’s not just looks — it’s about feeling comfortable in your skin and radiating confidence, and that’s my beauty secret. I’m all about using natural stuff and self-care that nourishes body and soul. I like making homemade face masks with things like honey, avocado, and aloe vera. I drink lots of water to keep my skin glowing. I think self-care is a big deal — doing things like meditating, reading, or relaxing in a bath. Mental and emotional well-being shows up in how we look physically. Loving and accepting yourself — that’s key. Every woman’s beautiful in her own way — it’s about finding what works for you.
La Dee’s journey is a powerful testament to the strength found in embracing what works for you. Embracing your roots while boldly navigating new creative landscapes. Her music and artistry embody a seamless fusion of tradition and modernity, connecting deeply with audiences across borders through authentic storytelling and rich cultural expression. As she nurtures both her career and community, La Dee stands not only as a remarkable artist but also as a cultural ambassador, inspiring a vibrant revival of Bulawayo’s cultural identity and a broader celebration of Zimbabwean heritage in the global market space.
Follow La Dee @IamLaDee
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