Gemma might have cooked a project that defies the cliché that she has been associated with for the longest, “just a white girl who sings Shona.”
For the longest, Gemma has managed to live up to this unfair judgement that no serious music pundit would rate her among the heavyweights.
From the time she did that piano version of Musarova Bigman (well that introduced her to fans in Zimbabwe and maybe she just felt she owed the Zimbabweans music fans Shona songs) to Maita Basa Baba, Gemma had not fully shown what a glamorous vocal powerhouse she is.
Off course, it will be totally unfair to downplay her collaborative involvement with Winky D on the banger Mugadheni.
Well, the first notion that would come mind is that this smash-hit only helped amplify the afore mentioned cliché.
BUT, this new Gemma project has certainly demystified and probably will put to rest the assertion that Gemma is a mid-card artist, she might actually be a powerhouse disguised in those stereotypical and generic Shona lyrics.
What is special about this new album is that Gemma’s vocal prowess is undeniably showcased.
Let’s first deal with the Shona thing, after listening to the collaborations with Nutty-O on Wandinoda and Feli Nandi on Tariro, the spark was very low that the prediction that immediately came to mind was that this was going to be just another overhyped underwhelming release.
For obvious reasons (with basic comprehension abilities, the assumption is that there is clarity) Ndichatarisa is being overlooked in this review.
The Eureka moment came through when Mjolo and MuHarare played, immediately this highly opinionated writer was frustrated by how this voice was getting wasted in generic Shona songs and screamed at the audio device, “She should stay away from those Shona songs and collaborations.”
Unbeknownst to the writer that the next song on his playlist would totally humble him. Usanetseke! What a jam! Then came Ndimi Mwari.
Then there was Alone, Holy and Thank God I know You (great song this!) and suddenly, the whole album has been played.
All the 16 tracks listened to, that is, from the intro to the last song.
The verdict passed is that Gemma Griffiths can sing. Her solo delivery of the songs Grace, Ndimi Mwari, Usanetseke and Yahweh will certainly establish her in many households this 2025.
Hopefully, the project will do well also on the charts. And also (this could be very unpopular), Gemma doesn’t owe Zimbabwe Shona songs, her Afro beat songs in English with sporadic Shona lyric sprinkles are absolute bangers.
She has to be her own self now that this project is set to properly establish her (this is just a mere prophetic rant.)
The album is a complete gem. But it would not be fair if Voltz JT and Cleo Arie are spared of strays in this story of absolute bangers. Medzayi Fridge and Andondida are such good songs that they can easily dominate playlists in hip hop and gospel music respectively.
One day, we will talk about how a hugely unknown Cleo Arie is a potential gospel great.
Back to Gem-ma, now want to watch her live. She could be really energetic. Until next time, Thank God I know You!
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