Interview: Heavy-K Won’t Stop Evolving

Long before he became the Drumboss, before the chart-topping hits, sold-out shows across the globe, and status as one of South Africa’s most influential dance music architects, Heavy-K was simply a curious kid brought up with a profound musical foundation fostered by his father, a former band member. A routine errand to pick up movies for his brother would alter the course of his life. There, he stumbled upon a group of musicians working with keyboards and production tools that immediately fascinated him. This unexpected encounter set him on a new path: music

More than a decade later, the producer and DJ born Mkhululi Siqula has become one of the defining figures in South African contemporary music. From steering Afrohouse’s rise to helping shape the sound of contemporary 3-Step music, his fingerprints can be found across generations of hits and artists. Despite his success and longevity, Heavy-K still speaks about music with the enthusiasm of someone who is learning in real time.

In conversation with NATIVE Mag, he reflects on his unlikely entry into music, the origins of his Drumboss moniker, the evolution of his sound, and the lessons he’s learned from collaborating with everyone from emerging talents to some of Africa’s biggest stars.

This interview has been lightly edited for clarity.

How would you briefly describe your come-up story to someone unfamiliar with you or your work?

My love for music started from a very young age, but it wasn’t something I always thought I would do professionally. My father introduced me to a lot of music growing up. He used to be a musician. He played the guitar and accordion when he was young, but he stopped after a while. Even though he mostly played Jazz music, he made me listen to different types of genres, from Westlife’s Pop music to our own local Maskandi. 

One day, my brother gave me a USB stick and sent me to a township guy to get a bunch of new movies. When I got there, there was a do-not-disturb sign at the door. But then I could hear people recording and playing music inside. Eventually, they let me in, and I was so fascinated by what they were doing. There was a guy playing the keys while another person was messing around on Fruity Loops. From that moment, I knew this was something I also wanted to do. After they were done recording, I told the owner of the store that I would like to make music as well. I asked him to teach me the basics. He put the new movies on the USB stick and the Fruity Loops software as well. That’s how I got started producing music. 

There’s this picture of you that’s been floating around the internet. It’s one from when you were very young, sitting in front of a computer. Was that picture taken around the period when you just got into making music?

Yeah, that was me in my room. That was where I produced my first album, the one that had “Wena,” “Beautiful War,” and “Gunsong.” I made “Lento” even before I made that album. One of Professor’s biggest songs. The first time my father saw that song on TV, he shed tears because he was so proud of me. My mum was complaining because she didn’t see me in the music video. 

Your first album was titled ‘Respect the Drumboss 2013,’ and Drumboss has become synonymous with your name ever since. How did you earn that moniker? 

I really owned up to that name because I really am the drum boss. I don’t think there’s anyone who programs or plays drums like I do. Also, I remember I liked Rick Ross a lot; he’s a big and confident guy who calls himself a boss. I’m also a big guy and very confident. I’ve never felt I need to shrink myself or look a specific way. So I embraced that. I’ve never had a boss or worked for anyone in my life. I’ve been my own boss since I was a kid. 

You’ve been making music for over a decade now, and you have contributed heavily to the evolution of Dance music in South Africa. How do you think your sound has evolved over the years since you first started making music?

As you know, nothing ever stays the same. But the great thing is, I have always had a futuristic sound. There are new guys like JAZZWRLD and Dlala Thukzin doing great things at the moment, but if you listen back to some of my old stuff, you can see I laid the blueprint for a lot of what we’re hearing today. Back then, random people, even industry peers, would tell me my sound was way ahead of its time, but I never really understood it then. But then, as time went on, I could see that even though the sound was evolving, it still had elements and styles that I had incorporated years back. 

Things always change. If you listen to some of my new music, the BPM is much slower than it used to be. For example, when Amapiano became popular, I knew I had to adapt and reduce the BPM a little slower. There was a saying then: ‘The aim is not to sweat,’ and the music I was putting out had to adapt to that change. 

You’ve collaborated with so many people over the years. Names like Thakzin, Ami Faku, Burna Boy and Tresor. What do you think makes you such a great collaborator?

I think it’s because I never stopped being a student. I know I’m a genius, and I don’t feel the need to prove it to anyone else. There are times when you get in the studio with some artists, and the ego in the room is louder than the music. I feel like if we get in the studio, you should leave your ego at the door. We’re just two creatives trying to learn from each other. I don’t force collaborations, and I also don’t charge for a beat. If the energy is not right or the collaboration is not aligned with what I’m trying to do, I won’t do it. I try to keep my music as authentic as possible. That’s why I enjoy working with newer, younger artists. Because at that stage, there’s not much ego, just a hunger and desire to work. 

Are there younger South African artists or producers you think deserve more attention right now?

Yeah, there are names like Justin Chalice, Mazet, and Khazozo. I found Khazozo on TikTok; he’s really talented. We recently made a song called “iBhodlela” together. 

You have a busy tour schedule. You’re on the road every other month. What’s life on the road like? 

It’s amazing. I knew when I started making music that it came with this lifestyle. I spend a lot of time away from home. But I love connecting with people all over the world. You can’t control where the music goes. Music can take you anywhere, so you just follow. Travelling around also opens your eyes and makes you think of things a little differently; you don’t become close-minded. I only wish I could skip all the flying and security checks at the airports. Aside from that, it’s great. 

Is there one track from your extensive discography that deserves more recognition?

“Andikayeki.” It’s a song I did with Ami Faku. It’s a powerful song. 

The post Interview: Heavy-K Won’t Stop Evolving appeared first on The NATIVE.