Eswatini’s music industry has reached a point where the quality of its creative work can compete on the international stage, but without stronger commercial structures, regulation and investment, much of the country’s musical talent risks remaining commercially untapped.
This is according to seasoned music producer and arts activist Qiniso “Slim Q” Dlamini, who believes the country has no shortage of talent, but needs to build an industry capable of turning that talent into sustainable careers.
Slim Q says the quality of music being produced locally has improved significantly over the years, with artists demonstrating stronger songwriting, production and artistic identity.
“Presently, the quality of the music produced is of high quality; at par with that of the world. The pen game, for most artists is on another high,” he said. However, he cautioned that creative excellence alone would not be enough to build a financially viable music industry.
“It’s steadily growing, however, not at the pace we would all have loved it to be. More is yet to be done to make it the lucrative industry it’s supposed to be,” he said.
For Slim Q, one of the most pressing challenges is the lack of structures that protect and sustain artists financially. He argues that talented musicians can emerge with considerable potential, only to abandon their craft because they cannot make a living from it.
He has therefore called for greater regulation of the industry, including the possibility of establishing a minimum booking fee for artists.
“Some may disagree, but our industry needs to be regulated. We need to have some sort of floor fee for booking artists to ensure that they can make a living out of their art,” he said.
He also believes artists themselves have a responsibility to professionalise their craft by understanding their value, continuously improving their skills and treating music as a business rather than simply a passion.
Yet, despite these challenges, Slim Q remains optimistic about the future. He points to technology and social media as some of the biggest changes since he entered the industry nearly a decade ago.Unlike previous generations, local artists now have direct access to global platforms for releasing, marketing and promoting their music.
“During our time, there was no social media, which inhibited our ability to reach the world. Now we also have access to the same platforms the world uses to access and release music,” he said.
He believes the next step is for Emaswati creatives to stop viewing themselves solely as local artists and begin positioning themselves as international brands.
“Let’s be global. Let’s see ourselves as international brands; exports. What do you have to offer the world out there? Why should we care about you?” he challenged.
Slim Q’s own production philosophy reflects this emphasis on originality. Rather than simply sending artists ready-made beats, he prefers working with musicians in the studio from the beginning of a project.
He says this allows him to understand an artist’s identity and create a sound that complements their personality.
His production journey includes work with artists such as Stealth Independence, Ghetto Villah, Mageez, NDR and Magengtsotsi, with each project developing its own sonic identity.
Among the projects closest to him is Stealth Independence’s Independence Day album, which he describes as a defining moment in his musical journey.
The project, particularly the song “Tribute”, brought artists Sweet P and Steaks together and demonstrated the power of collaboration. According to Slim Q, it also helped make the use of siSwati in hip-hop more prominent and gave artists greater confidence to embrace their linguistic and cultural identity.
He also highlights Ghetto Villah’s Mr Ghetto Swagger, describing the artist as a pioneer of kasi rap in Eswatini and crediting the project with teaching him important lessons about the business side of music.
For Slim Q, however, the journey is far from complete. He is currently working on a project aimed at assisting artists, although details are yet to be revealed.
Ultimately, his message to Eswatini’s creative sector is simple: talent must now be matched with ambition, professionalism and commercial thinking.
“Let’s create work that will make people be compelled to rally behind us as Eswatini creatives; create value,” he said.
For a country whose artists are increasingly producing music capable of standing alongside international work, Slim Q believes the next frontier is no longer proving that Emaswati can create, it is building an industry that ensures they can earn, grow and export their creativity to the world.
