Poetry becomes a song
LAZARUSMAN: ARTIST PUTS WORDS TO ELECTRONIC DANCE MUSIC
Soweto-born poet is expecting a busy year, with a European tour on the cards.
Electronic dance music is specifically composed to facilitate dancing, it’s upbeat with little or no vocals at all. It evokes feelings we are often unable to adequately express ourselves.
Soweto-born Lazarus Mathebula, popularly known as Lazarusman, is a spoken-word artist who has succeeded in articulating these emotions whilst making it all musically pleasing.
With the aim of pushing the boundaries of vocals within dance music, his ability to fuse it with poetry has seen him open for international acts such as Little Dragon and Bonobo.
The 30-something year old boasts a 10-year career on the music scene and collaborations with Martin Stimming, Kid Fonque and Djuma Soundsystem to name a few.
Growing up, I didn’t care much for electronic dance music, the reason being I have always assumed there was no profound or deep meaning to the genre, something I constantly crave in music.
It’s safe to say Lazarusman has not only changed my view on electronic dance, he has also given a new meaning to it.
After experiencing his sprightly energy at 1 Fox Junction, I chatted to him about his craft, slam poetry, his experience in what appears to be a white-dominated scene, as well as his most recent set at Bonobo’s SA show.
Q: How would you best describe what you do to someone who has never heard of you?
A: It is the near-perfect amalgamation of slam poetry and dance music. An introduction of spoken word to house music and house music to poetry.
Q: You have a slam poetry background; how did you find yourself in music or have the two worlds always influenced each other?
A: I grew a little bored of the format of spoken word – going to cafés and theatres to perform. I already had a deep love for house music, so the progression to marrying the two came naturally.
Q: Can one make a sustainable living from poetry alone?
A: I know a few poets who do. It requires complete devotion to the craft. Also, you need to be able to apply poetry or the use of language across vast disciplines.
Q: You mentioned that, at some point in your life, you used to frequent taverns and, as someone who is familiar with those spaces, I would imagine they played anything but electronic. How did you stumble upon electronic dance music? And what is it about the genre that appealed to you?
A: (He laughs.) Let me not lie. As a boy who lived in the suburbs I was fascinated with the “hood”. Taverns are interesting because a broad spectrum of music is played [due to] the jukebox set up. I am also notorious for having friends who are older than me and they spoon-fed me a lot of the music I play today.
Q: What are you trying to communicate through your craft?
A: The freedom to express yourself, no matter what you want to say. I want to show there are no limitations to creativity.
Q: How has your style evolved?
A: I used to be very technical, considering things like rhyming couplets, clever use of grammar, manipulative words and the meaning of the things. Today, I am more emotive.
Q: You have played in many countries/cities before. Do you have a bigger market abroad? A: Yes, as that is where I broke out first as an artist, people didn’t know I was South African until after three years or so. I am certainly seeing a massive growth here at home, which is why I am on lineups like Bonobo.
Q: We are constantly consuming music as a people; new genres are created, new songs are released, new artists are being introduced to the industry. How do you make sure you stay relevant?
A: Consistency. You need to become a constant figure in whatever craft you do. If you write, write regularly and be present amongst writers. It’s the one thing that has allowed me to endure a 10-year career, consistency.
Q: Talk us through your creative process. Do you pen poetry before creating your music or do you freestyle verses and let yourself get inspired by what you hear?
A: Freestyle, wholesale, every day, all day. I work in a vacuum, so I don’t listen to music while I create. It’s just me and the mic and whatever I have on my chest. It yields the best results.
Q: You opened for Bonobo. How did you prepare for your set?
A: (He laughs.) I hardly slept. It was literally on my mind every day, and the only thing I could think of is how I am going to start and end the set. The middle part usually sorts itself out. I literally decided what to play two hours before the show. I usually listen to very little house music before shows of this nature.
Q: Where can people catch your next performance?
A: I will be making my debut at Sugar on March 30 and I’ll be at the Kalushi Label Night on the same night. I suspect it’s going to be a busy year.
Q: What do you have planned for the rest of the year?
A: There is a European tour on the cards which is always exciting. I am also releasing my first single and hopefully the full album later this year. I have a slew of other collaborations with local and international artists like FkaMash, Hyenah, Bruce Loko, Leeu, Kaysoul and others.